Re: [Harp-L] Butter TV spot

[Ev630 <eviltweed@xxxxxxxxx>]

To address Rob's contribution:

"I will give examples in a moment of just a few of the pieces that I feel
> convey his Harp Genius but if you just look at the Harmonica notes & Riffs
> than you missed what this man brought to the table of Music in the 60's &
> 70's."
>

Rob, at the end of the day, the core element that should represent a
player's contribution is the music he or she produced using whatever
instrument/s they are famed for. Especially on a list about a specific
instrument. For you to question my focus on Butterfield's playing as if I am
missing the point is not very reasonable in a discussion about Butterfield's
influence as a harmonica player. But, okay.

"Paul Butterfield was a Musician first he also was a masterful bandleader
> and Singer.
>
Like Junior Wells and James Cotton? I would also note he was the first
> Blues-Jazz Rock Band to utilize a full Horn Section before the Electric Flag
> or Blood Sweat & Tears or Chicago or the many others that followed. He
> intertwined the Harp w/ Horns in a very unique way."
>

That's interesting, but not exactly compelling as far as discussing his
innovation as a musician. What year did he put that together? I understand
Cotton recorded with horn sections in 66 or 67.

"We have already debated the importance of Butterfield so I would suggest
> going thru the archives for examples: but here are just a few:
>
> -His 3rd position work on the LIVE East West sessions
> -His Live Performance of "Everything's Gonna Be Alright"
> -His Live Performance of " Driftin' Blues"
> -His Studio solo of 'Thank You Mr. Poobah' off his first LP
> -His Studio Third Position solo on Pigboy Crabshaw "One More Heartache"
> -His Playing on The first Paul Butterfield's Better Days was should be
> required listening for any Harp Player wanted to learn how to 'comp' with
> other Musicians. His solos on New Walkin' Blues, Buried Alive are some of
> the tastiest & creative cross harp solos I've ever heard and his 1st
> position work on Highway 28 is most inventive."
>

That's exactly the sort of thing I was interested in. I have those cuts so
I'll listen to them again with your observations in mind. Thanks.

"Well there are just a few examples and now I would like to hear the
> examples of the 'rushed arpegiatted insensibilities' your hearing throughout
> his music....because I can't seem to find them."
>

Hey now, I did NOT write "insensibilities". You might choose to characterize
what I wrote as a negative, but I am just trying to understand why some
folks consider Butterfield an innovator on this instrument. When I say he
has a rock sensibility, I mean that in an objective sense - some of his
phrasing is clearly heavily influenced by 60s rock guitar phrasing, rather
than, say, horn phrasing. Well, that's no surprise - he did work with
Michael Bloomfield who was being influenced by (and in turn influencing)
other rock-blues guys at the time. (For example a LOT of the stuff
Butterfield's doing on the live "Everything's Gonna Be Alright" is out of a
rock guitar headspace merely in terms of the guitar-hero style showcasing of
the instrument for a rock crowd). As for the rest of his stuff, the biggest
influence I hear is Little Walter directly channeled through James Cotton
(i.e., Nutpopper), who was Butterfield's senior by ten years on the Chicago
scene. Don't mistake me, I think a lot of his stuff is great but it really
sits in that whole crossover period that ultimately defines the late sixties
rock scene.

"However I totally respect your opinion and glad you have found harp
> happiness in the players you find 'official'. I think that if you don't hear
> the inventiveness in Butterfields' playing it just means you hear music
> differently than I do (many others who have chimed in)....so we are back to
> tastes and that is fine."
>

Hey, I totally respect your opinion, too. In my case, I actually mean that
and won't qualify it with any back handed compliments. ;)

By the way, I'm inferring from what I'm reading that some of the commenters
have made the assumption I am advocating mimicry of Little Walter, by
questioning Butterfield's influence. This seems to indicate a failure to
acknowledge or understand the influence of Junior Wells, Cotton and others
on modern blues harp. Both of those guys, for example, were (are) incredibly
distinctive stylists with signature phrases, tones, etc. Don't make an
assumption that I am advocating slavish mimicry of Walter because I mention
Kim Wilson. To do so would indicate that a person knows nothing of Wilson's
distinct, unique signature 3rd position phrasing, as one small example of
how wrong-headed it is to think Wilson is some dumb Walter clone.

Cotton was CLEARLY a huge influence on Butterfield, by the way. That's why
there was a good-humored acknowledgment between the two musicians on various
LPs at the time. For example, when Cotton did "Lovin' Cup" because
Butterfield had recorded stuff Butterfield HEARD Cotton playing in the clubs
at the time. (And there's no question that Cotton's take on that tune knocks
it out of the park).

Anyway, back to Rob. Thanks for your flags to tunes I need to look at more
closely. I'll certainly do that.

Thanks also to Ken, Mick Zaklan and Michele le Free for some interesting
takes on this issue.

Drew

PS. This is a re-post. I think I had some formatting issues. Sorry if it's
clogging up bandwidth.