Frank
3518 posts
Dec 17, 2013
7:08 AM
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The Centipide Saloon
Tip Your Waiter Please
Last Edited by Frank on Dec 17, 2013 7:10 AM
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TheoBurke
536 posts
Dec 17, 2013
12:51 PM
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Paul Butterfield is my patron saint.
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Ted Burke
http://www.youtube.com/user/TheoBurke?feature=mhee
http://ted-burke.com
tburke4@san.rr.coM
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MP
3010 posts
Dec 17, 2013
6:33 PM
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Just listened to the Butterfield instructional a student of mine pulled out today. I forgot how great he played acoustic. awesome! he was my introduction to blues harmonica.
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i still have a little Hohner stock for reed replacement in three common keys.
when these are gone i'm out of the biz.
click MP for my e-mail address and more info.
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Chris L
26 posts
Dec 17, 2013
8:01 PM
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I was just watching this Video of Butterfield yesterday! So many new licks not heard on his recordings! And so immediately recognizable. Butterfield is a well I just keep coming back to draw from!
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Slimharp
77 posts
Dec 18, 2013
6:36 AM
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Saw PBBB twice in 67 & 68. Power packed hard driving blues. I was hooked. Started playin harp in 67. Although there are many great players now, Paul sticks out for me. He was the reason why. Extremely bad ass for his time.Thanks for posting Frank. If I had an idol it would be Paul.
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Slimharp
78 posts
Dec 18, 2013
6:37 AM
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PS As far as I know he is still not in the Rock & Roll Hall of fame, which if that matters, makes me sick.
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colman
286 posts
Dec 26, 2013
8:37 AM
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Paul`s version of "everythings gonna be alright" is one thats better than the original.that harp playing still kicks a$$...
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TBird
47 posts
Dec 26, 2013
7:23 PM
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This clip is from some kind of Paul Butterfield documentary that is currently in production. I'd say something like that has potential to be super awesome. Anyone know anything about it?
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markdc70
140 posts
Dec 27, 2013
7:34 PM
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Watching that clip, seeing raw blues played to a crowd of probably 10,000+ fans completely raptured, makes me feel for the touring acts today. I see stuff like this locally with 100 people in the club and am always amazed as to why I am seeing this amount of talent on display, so intimately, and wondering why so many other people are missing it.
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JInx
693 posts
Dec 27, 2013
10:24 PM
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yeah, the problem was…his already retro blue sound couldn't compete with what the doors did to the blues, and for butterfield he was left in the dusty
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Sun, sun, sun
Burn, burn, burn
Soon, soon, soon
Moon, moon, moon
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TheoBurke
560 posts
Jan 15, 2014
5:17 PM
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@ Jinx"Butterfield sounded anything but "retro" . Starting on their second album, with the extended jazz and raga-oriented improvisations on the Work Song and East/West respectively, Butterfield staked his reputation on making the blues sound fresh and contemporary: his use of different styles, whether funk,gospel, country blues, soul and even jazz-fusion became the signature touches of his approach to the harmonica and the blues harmonica. In my opinion he is one of those rare geniuses who changed the way the instrument is played. He didn't spend a lot time trying to sound like an old time player; in his music, you could hear who his influences were, but you can also witness how he reformed those styles, blended them, smelt them together and came up with a style that is wholly his own Butterfield does not sound like anyone else; many others, however, sound like Butterfield to some degree, including yours truly.
What the Doors and Butterfield were doing , aside from having a strong grounding in the blues, were entirely different things. The key difference was that Jim Morrison was a sex symbol. Paul Butterfield was a musician.
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Ted Burke
http://www.youtube.com/user/TheoBurke?feature=mhee
http://ted-burke.com
tburke4@san.rr.coM
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JInx
712 posts
Jan 16, 2014
4:36 AM
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listen man, it's like sugar blue said; and these's guys they went in and moved into the house and went in started frying eggs and everything else….and now what, they're dead. so there you have it.
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Sun, sun, sun
Burn, burn, burn
Soon, soon, soon
Moon, moon, moon
Last Edited by JInx on Jan 16, 2014 4:38 AM
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Frank
3700 posts
Jan 16, 2014
6:20 AM
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Did those 2 Masters ever cross paths?, they are both so very intense musicians :)
Last Edited by Frank on Jan 16, 2014 6:23 AM
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Slimharp
109 posts
Jan 16, 2014
7:14 AM
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Butterfield was kicking butt in the early 60's, playing at Big John's on Chicago's south side with the likes of Muddy, Little Walter, Howlin Wolf, on and on. Paul was extremely musical, a great blues singer, innovative, and had a vibrato like an out of balance washing machine on spin cycle. Butterfield Blues Band was throwin down HARD by the mid sixties. Paul was greatly responsible for bringing blues to white audiences in that time period. To compare Butterfield to Morrison is laughable. Morrison was genius in his own right but in a whole different ballpark. He was also fixated with playing with himself on stage and getting concerts shut down because of it. I was there. To reference Jlnx and Sugar Blue - Butterfield bought the house, cooked a turkey dinner, and put out a cookbook. What were you doing in 1964 ?
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Martin
600 posts
Jan 16, 2014
9:29 AM
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"Listen man, it's like sugar blue said; and these's guys they went in and moved into the house and went in started frying eggs and everything else….and now what, they're dead. so there you have it."
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Interesting post, Jinx. But what does it mean? Does it hark back to the question of who has the "right" to sing the blues? (If so I´ll let it rest: been there etc.)
Miles D was also seriously pissed that Chet Baker "stole" some of his ideas in the 50´s -- and extra pissed that Chet was a white cutie. But there you go, it´s an open market.
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messy ventura
119 posts
Jan 16, 2014
9:52 AM
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+ 1 what Slimharp said. The feast that Paul cooked up in the house and spread out on the table for the likes of Muddy, Wolf, and other Chicago blues greats of that era was so well received that he gained their respect an admiration and was adopted in to that family. Butter's impact of bridging white American youth into the blues is unparalleled and a huge piece of the wave of change occurring during the 60's. I'm an ol' geezer and was able to see/hear both PBBB & the Doors perform live. Morrison was a poet. Butter was a MUSICIAN.
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Martin
601 posts
Jan 16, 2014
11:22 AM
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Baker "remained more or less the same , musically, for most of his career."
True. But, in Baker´s case, if you´ve found a good thing, why not stick to it? Davis´ restless musical peregrinations sometimes took him in less interesting directions, and the reverence for him has a lot to do with "the cult of the new", a somewhat tiresome theme that has dominated Western art for a long while.
Baker also sang in a not unpleasing way, and -- that was Davis´ chief peeve -- he sold records by the truckload.
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JInx
713 posts
Jan 16, 2014
1:10 PM
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@Theo you are right, that east west was for sure was not retro sounding at the time.
@Slim "To compare Butterfield to Morrison is laughable"
No it's not.
- The fact alone that they were Labelmates, signed to Jac Holtzman's Elektra Records invites valid comparison. (recall how when Kudzu signed with Seasick Steve's same label, the measuring and posturing began immediately.
- They used same producer, Paul Rothchild
- They both mixed blues with acid, indian raga, coltrane etc to push their sound and sell records.
- They were both great singers and great showmen, I mean shaman, no I mean showmen
- They were of the zeitgeist
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Sun, sun, sun
Burn, burn, burn
Soon, soon, soon
Moon, moon, moon
Last Edited by JInx on Jan 16, 2014 1:29 PM
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Slimharp
110 posts
Jan 16, 2014
1:28 PM
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There must be some badass smoke floating around your neighborhood.
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Kingley
3399 posts
Jan 16, 2014
1:47 PM
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Paul Butterfield was a bad ass harp player and a great musician.
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Slimharp
111 posts
Jan 16, 2014
2:52 PM
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1. Butterfield made one departure into tonal differences on East West which had a lot to do with Bloomfields experimentation. He drew on long improv a la Jazz influence on Work Song mostly to let Bishop and Bloomfield stretch, the rest was blues. 2. Morrison covered blues on the first album on a few songs which were heavily blended with rock. Subsequent albums never got close to blues. He was a Pop Rock artist, and a very good one. 3. Yes they shared labels and such. Outside of that there was little comparison. The group Bread was also on Elecktra. Several artist shared the same fledgling label and team. 4. Butterfield was a hard core Chicago Blues Musician. Morrison was a LA based poet-singer-songwriter. Morrison was all about Morrison. The Doors were just a vehicle for him. 5. I saw both bands several times. PBBB was heavy hitting, hard core BLUES BAND, so much so it almost blew your hair back, and we had a lot of hair then. The Doors were fantastic also, but they did the Doors. That is if you got a chance to see them after buying the ticket, driving to the venue, waiting in line, getting to your seat. I saw them once and they did a short versions of 4 songs.It was great. The other two times Mr. Jim had to start playing with his crotch and management cut the power. Both times the audience got 2 songs out of them. No refund, no rain check, see ya later. That was Morrison. Comparison ? " What Morrison did to the blues " ??? Maybe there was a lost Doors album I didnt hear.
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JInx
715 posts
Jan 16, 2014
3:02 PM
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You can't see it but, that's cool. Maybe you should check out Morrison Hotel and LA Woman albums>big time blues all over them.
I'd love to hear more about the Doors shows you attended. It's so rare to find someone who got to see them once never mind several times. Did you get a chance to trip at a show? Did the shaman/chaos stuff work for you? Where did you see them? What years? How old were you?
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Sun, sun, sun
Burn, burn, burn
Soon, soon, soon
Moon, moon, moon
Last Edited by JInx on Jan 16, 2014 3:11 PM
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KDT
21 posts
Jan 16, 2014
4:31 PM
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I've been playing for just shy of 2 years now. I'd never heard of Butterfield until he was mentioned on this site. Today I listened to "The Paul Butterfield Blues Band" album. I'll be learning from this album for the rest of my life. Today it was the simplicity of many of the riffs in Mellow Down Easy. Fantastic.
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Slimharp
112 posts
Jan 16, 2014
8:12 PM
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Jlnx Morrison was a fantastic artist, dont get me wrong. I just think they were on a different track. He got more into his style of acid blues rock later on, I just dont see the comparison.
I first saw the Doors with the Airplane ( Jefferson ) and Jimi Hendrix at the Anaheim Convention Center in Aug. of 67. It was a fairly sterile environment. They were on first, they did a very quick set of about for songs I think it was Soul Kitchen, Break on through another one and ended with an abreviated version of Light My Fire. The whole set was very fast, I think they seged into each song. They were on and off, no drama. I then saw them a few months later in the field house at Cal State Long Beach. They were getting pretty famous by then. They started first song - I think it was This is the End and Morrison started to hump the mic stand. Bang the house lights came on, Cops pulled him off stage for 20 min. He came back out and started with an up tempo, maybe Back Door Man. He grabbed his crotch and the show was over. The third time was at Cal State Fullerton with Alice Cooper and the GTO's ( they all wore sequined mini skirts ) Charlie Mussellwhite and Doors last. He was getting into his snake charmer stuff then. He got into his humping grabbing thing about the third song. Show over. This was in the Spring of 68 if I remember correctly. I was 17 & 18. No didnt trip. Not cool to trip and drive especially in the city. Remember pot was a felony and you did time behind it, especially in conservative Orange County California. We did our share of partaking. It depended on what venue you were at. One had to be very cool about it then. I was fortunate to see ( and hear ) most all of the big groups. Hendrix twice Joplin, Stones on and on. I really liked the Doors, Morrison just pissed me off. Butterfield was my favorite back then. Guess Im a hard core blues man. I eat more chicken ? than any man ever seen.
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Slimharp
113 posts
Jan 16, 2014
8:33 PM
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Saw PBBB twice. Once in 67 with Mike Bloomfield ( one of the greatest blues guitarist that ever plucked a string )and Elvin Bishop and the original back line. That was the show that started me playing harp. Butterfield played his guts out. Hard driving electric blues. Awesome does not come close to a decent description. 69 he had the horns in his band. He also played some electric piano, played just a little less harp. That show was a different feel yet was still off the hook. These shows were at The Golden Bear in Huntington Beach Ca. Saw many many shows there. My friend and I had a gardening route we did on Saturdays and after school and thats what I did with most of my money. Went to shows, bought albums, and of course Marine Band harps. They were $12.00 then. end of my rant.
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Kingley
3400 posts
Jan 16, 2014
10:29 PM
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I have to agree with Ted Burke. The sound that Butterfield had couldn't exactly be classed as "retro". He had an approach that was markedly different than any harmonica player that came before him. Sure he covered some blues songs done by the earlier greats of the music, but his versions were a million miles aways from the likes of Muddy, the Walters, Sonny Boy 1&2, etc,etc. Butterfield innovated the music in much the same way that Little Walter did. As for classing the Doors as blues, well I'd have to disagree with that. Just because they recorded some songs that were blues influenced doesn't make them a blues band. That would be like calling Rod Stewart a swing artist on the strength of him recording one album of that style of music. Sure the Doors or Morrison may have been blues fans and influenced by that music to some extent and even recorded the odd blues inflected song, but they certainly weren't a blues band. They were a pop/rock band of their time. Who used many different musical influences to create a sound that was their own. In a similar way that many bands in the 1960's did.
Last Edited by Kingley on Jan 16, 2014 10:30 PM
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Chris L
29 posts
Jan 17, 2014
11:45 PM
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I wouldn't want this string of reflections on the genius of Butterfield to omit to mention that he was not just a brilliantly innovative harp player and front man, but in the 60s he did the arrangements for his whole band including the horn section. And there is no way that band in "Driftin" (above) had a "retro" blues or swing sound at that time. Crazy talent!
If he had survived the 1980s I like to think he'd fill stadiums again today, like so many of his peers who were ignored during the late 70s and 80s.
But maybe he'd just be another judge on a reality TV talent contest...
@KDT: Amen! But you might want to give East-West a listen too!
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arnenym
256 posts
Jan 18, 2014
2:59 AM
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Morrison was a poet and poseur one of the first who created rock myth of sex, drugs and rock 'n roll. Doors did a few songs with blues structure but it was more ego than the blues, I do not count him as a blues musician.
Incidentally, I agree with Slimharp and Kingley. Butterfield made ??me start listening to the blues and love the harmonica.
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Kingley
3406 posts
Jan 18, 2014
4:22 AM
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For me the thing about Paul Butterfield is that he really was a product of his time. He lived in the here and now, and his music reflected that. Unlike players like Rod Piazza and Charlie Musselwhite who for much of the 1960's simply recreated the music of their mentors, Butterfield took it somewhere new. His arrangements of classic blues songs were innovative and unlike anything heard before. Whilst players like Piazza were simply imitating the music of Little Walter, George Smith, etc. Later in life of course Piazza and Musselwhite would grow and put their own stamp on the music, but in the 1960's they were playing the safe ground. Butterfield wasn't too interested in sitting still and paying homage with note for note recreations of the music. He and Bloomfield had a burning urge to take the music and really make it their own. They were , young hungry, full of testosterone and it shows in every recorded performance. Their music was hard hitting, energetic, sexually charged, in your face, balls to the wall, electrified blues. They were also like many people of that time being exposed to new musical and cultural influences, which over time would work it's way into their music. To see someone like the Paul Butterfield Blues Band live in the 1960's must have been such a unique experience it would most likely stay with the audience for life. I imagine it would have had the same effect on younger upcoming players that seeing a 1950's Muddy and Little Walter would have done.
Last Edited by Kingley on Jan 18, 2014 4:22 AM
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TheoBurke
564 posts
Jan 18, 2014
6:42 AM
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I remember reading Butterfield as saying that he didn't play Little Walter solos note for note simply because he couldn't, and I believe him. While it's obvious that LW influenced PB as a player--those single note runs Butterfield excelled at have LW's stamp on them--Butterfield had his own instincts from his earliest recordings. His tone, vibrato, the fluidity, the triplets, the note selections, the phrasing, the speed, et al, that blended to become Butterfield's vastly influential signature style were already in place. Teaching myself to play, I listened countless times to the first 2 PBBB albums, Fathers and Sons and his 2 disc live albums and found that while I could duplicate some of his phrases (to the extent that they're instinctual go tos in my playing), there were other things PB was doing that I couldn't figure no matter how times I listened or how many harps I blew out trying. No less than guitar, I suspect, playing blues harmonica is tactile, physical; there is a kind of second nature body english that gets applied when I play that directs me in directions, musically, than what Butterfield had already put down on record. Other players, of course, have a talent for skilled mimickry and are able to to note for note variations. Butter, though, was like Miles Davis (among others) and couldn't duplicate the finessed elegance of a Clifford Brown or the speedy modernism of Zizzy; he invented his own path, created his own distinct space within the tradition he loved and changed the music , and the way the instrument was played. Butterfield did much the same.
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Ted Burke
http://www.youtube.com/user/TheoBurke?feature=mhee
http://ted-burke.com
tburke4@san.rr.coM
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wolfkristiansen
260 posts
Jan 18, 2014
10:31 AM
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I just read this whole thread. Great, insightful comments from so many of you. I saw Butterfield three times, once in the sixties, twice in the seventies. Great shows. The first I will remember forever. No horns, though I loved the later horn bands too.
For that first show, he started with Mystery Train. He started the song with a long drawn out wail on holes 3 and 4 on the harp. The sound just burst out of the speaker towers. The hair stood up on the back of my neck.
For that show, he and his road crew were smart. They did all their sound checks before the audience came in. (2000 of us!). No "testing,,, testing... mike check... mike check...". No instruments sounding until the first notes of the first song burst out. I wish more bands did that.
Cheers,
wolf kristiansen
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Silvertone
142 posts
Jan 18, 2014
11:37 AM
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This thread has had me listening to a lot of Butterfield for the last month. Watched that club video a dozen times and pulled out albums I haven't touched in years. That video was ear opening for me. I was also a rabid Doors fan wayback though too young to see them. Thanks MBH!!
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MP
3060 posts
Jan 18, 2014
12:01 PM
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I still believe the finest acoustic harp solo I've ever heard was Butterfields two short progression playing on "One More Heartache" from The Ressurection of Pig Boy Crabshaw album. Db harp. 2nd position brilliance!
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Slimharp
123 posts
Jan 18, 2014
2:04 PM
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MP - thanks for reminding me of that one. I played the grooves off of the vinyl on that tune. Man he did some very clean fast gut wrenching playing. How he would roll down to the lower notes, compliment the run back up was incredible.
Slivertone - what club video ? On Youtube ?
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Silvertone
143 posts
Jan 18, 2014
2:14 PM
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Slimharp.... Yeah the Youtube video Chris L posted up above 2 hr show. The singing was a bit off at times but everybody looks like they were havin a great time.
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MP
3064 posts
Jan 20, 2014
11:54 AM
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Hey Slimharp!
Good to see another big fan of that Butterfield solo.
I too wore out the grooves on that cut. I'd just pay it over and over as if the whole album was only about that song. Well, almost. :-)
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Last Edited by MP on Jan 20, 2014 11:55 AM
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tmf714
2353 posts
Jan 20, 2014
12:26 PM
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"I still believe the finest acoustic harp solo I've ever heard was Butterfields two short progression playing on "One More Heartache" from The Ressurection of Pig Boy Crabshaw album. Db harp. 2nd position brilliance!"
The band is playing in D minor-Pual is playing a C harp in third postion on this tune-it is a great acoustic solo,regardless of the key.
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MP
3066 posts
Jan 20, 2014
12:42 PM
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My huge mistake. you are absolutely right tmf714
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Affordable Reed Replacement
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Slimharp
128 posts
Jan 21, 2014
10:04 AM
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Yeah its a C. I can copy the licks, but thats just a copy. He was very fond of the roll down to 1 2 draw and 3 blow at a very fast tempo, almost like a slur. God he was quick and musical at the same time.
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MP
3067 posts
Jan 21, 2014
10:17 AM
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I can't believe I got the key AND the pos. wrong. Was my record player fast? Nobody in those days used Db harps. Oh well. It'll be a while before I live this one down.
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Affordable Reed Replacement
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walterharp
1294 posts
Jan 21, 2014
12:35 PM
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saw Butterfield and Danko in late 70's in Denver. I was a Butterfield fan, but that was a pretty awful show. It was way too loud and the playing was really sloppy. I was very disappointing. Seen some other clips of that lineup from around that, and it must have been a bad night or something. ah well....seen off shows by Jackson Brown, Simon and Garfunkle and Fleetwood Mac in my day too...even the greats have bad nights I guess.
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The Iceman
1386 posts
Jan 21, 2014
2:13 PM
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For some reason, I can't imagine Paul sitting at home listening to other harp players and learning/transcribing their solos.
From the get go, to me he had an original sound. Never heard harmonica like that before.
It was that old double LIVE album that blew the top of my head off...not just his harmonica, but the singing, horn arrangements and kick ass band.
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The Iceman
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Frank
3721 posts
Jan 21, 2014
2:35 PM
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Thats wishful thinking Larry - I doubt Paul bypassed studying his harp idols...
All the greats sat at the "feet/record player" of the Masters of the instrument they loved -
and found their unique direction as they journeyed onward :)
Last Edited by Frank on Jan 21, 2014 2:40 PM
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WinslowYerxa
488 posts
Jan 21, 2014
4:24 PM
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I completely disagree with the statement above that Musselwhite "for much of the 1960's simply recreated the music of their [his and Piazza's] mentors." It's not true of Charlie's records - a couple of examples:
-- Just listen to his weird, discordant, kick-out-the-jams acid-fueled take on Juke. Aside from the name of the tune, this owes nothing to any blues harmonica player.
-- Duke Pearson's non-12-bar jazz tune "Cristo Redentor" has nothing to do with the music of any Chicago blues mentors. It's a step outside the expected repertoire of a Chicago blues harmonica player.
Sure, he recorded a number of he expected warhorses, but so did Butterfield. Charlie didn't have the commanding singing voice that Butterfield was blessed with, didn't exhibit the ambition to have a big band or the management to put him in the larger venues, but he was every bit as much an original as Butterfield from early in his career.
I caught many of his live performances in clubs in the early 1970s. His note choices and lines were coming from a place that was uniquely Charlie.
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Winslow
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Slimharp
129 posts
Jan 22, 2014
7:53 AM
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MP no big deal. A record player Will change the key or whats worse is be somewhere inbetween. They can run at different RPM's. There is a William Clarke Tune " Give me back my wig " that a friend recorded from an old 80's album.Suppose to be in E but an A is just a tad off. Record Player.
Several years back I bought an instructional cd put out by Happy Traum or something like that. Butterfield was the instructor ( he was not a good teacher on this, more like an interview ). It had some great accoustic playing on it. Anyway he mentioned his favorites which were Little Walter and Junior Parker. Im sure he had some records to learn from. His brother said when he first started he would go to some park and play for hours and hours at a time. One thing to remember Paul was a first chair flutist in the Chicago Jr. Symphony before he took up harp and was a track star in High School. Im sure these things help him progress very fast, like months, not years.
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The Iceman
1387 posts
Jan 22, 2014
8:18 AM
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RE: Charlie Musselwhite...
I'm with Winslow on this.
To my old and experienced ears, after a few notes of most great harmonica players' solos, I can predict where the musical line will go for the most part.
This doesn't mean that they are substandard, it just is.
However, with Charlie - especially his position playing - I am constantly surprised by how he moves around all three octaves of the harmonica and where his melodic lines go.
He seems to be constantly searching for new directions and his playing still has a lot of that youthful adventure seeking that feels fresh to me.
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The Iceman
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HarpNinja
3699 posts
Jan 22, 2014
8:42 AM
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"For some reason, I can't imagine Paul sitting at home listening to other harp players and learning/transcribing their solos."
Agreed. He strikes me as the type that would have woodshedded with other musicians or listening to a fair share of non-harmonica music.
I mean, he did study flute and have formal music education. He also grew up listening to jazz and classical music.
In fact, one could argue that Butterfield became Butterfield because he chose his own path with harmonica. I bet transcribing the "masters" of harmonica was something he didn't spend a lot of time doing.
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Mike
My Website
My Harmonica Effects Blog
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HarpNinja
3700 posts
Jan 22, 2014
8:46 AM
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Found this from bluesharp.ca:
Butterfield practiced long hours by himself -- just playing all the time. His brother Peter writes, "He listened to records, and he went places, but he also spent an awful lot of time, by himself, playing. He'd play outdoors. There's a place called The Point in Hyde Park, a promontory of land that sticks out into Lake Michigan, and I can remember him out there for hours playing. He was just playing all the time ... It was a very solitary effort. It was all internal, like he had a particular sound he wanted to get and he just worked to get it. "
This would imply that he, in fact, didn't spend a lot of time transcribing solos from any instrument...that he, in fact, was after a sound in his head, and not already out there.
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Mike
My Website
My Harmonica Effects Blog
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Kingley
3409 posts
Jan 22, 2014
9:21 AM
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Winslow - Doh! Yes you're right I had forgotten about Cristo Redentor. Charlie wasn't really a good example to use.
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Frank
3726 posts
Jan 23, 2014
4:05 AM
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Does Butter have a famous instrumental?
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