Re: [Harp-L] Butter TV spot

[Robert Paparozzi <chromboy@xxxxxxxxxxxxx>]

On 12/19/09 4:45 PM, "Ev630" <eviltweed@xxxxxxxxx> wrote:

> 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.
Drew, I'm sorry if I misinterpreted your intentions, I think I could have
explained it better. I meant that Butter's contribution was a total package
not just his licks but the full context of arrangement, instrumentation
etc...sorry about that...
> 
> "Paul Butterfield was a Musician first he also was a masterful bandleader
>> and Singer.
>> 
> Like Junior Wells and James Cotton?
Yes, I agree with you there both excellent bandleaders

?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.
That's where I respectfully disagree yes Cotton used horns but not in a
Blues/Jazz Rock setting but rather Soul-Blues setting....I do feel this
introduction of horns in this way was quite innovative musically
> 
> "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.
No Problem....I'd be glad to get you any of this if need be...I've been
promised to make Rupert O a 'Rob P's pick' compilation...maybe w/ the
snowstorm I'll finally have time,-)
> 
> "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.
No you did write 'insensibilities' sorry, Yes I think he has some rock
influences but I believe his Jazz influences were much greater and I think
the way he fused Rock-Blues and Jazz was IMO, a big part of his brilliance.
He main influence were Jazz Horn guys ala Gene  'Jug' Ammons ....
> 
> "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. ;)
It wasn't backhanded, again sorry if I came off that way I really understand
why many players don't dig Butter. I think it really gets down to what BLUES
is to you...to me it is obviously something much different, I really do
repect your opinions but we'll agree to disagree,-)
> 
> 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.
No, we agree here I don't think your advocating copying or mimicry....I
never thought of Wilson that way at all.
> 
> 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).
Just YOUR opinion right?,-)))) I like 'em both.....
> Anyway, back to Rob. Thanks for your flags to tunes I need to look at more
> closely. I'll certainly do that.
Cool, your welcome Drew...a healthy debate.....all the best Rob P
> 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.