RE: [Harp-L] Buterfield the entertainer

[Donnie MorTone <harp_boy@xxxxxxxxxxx>]

> From: ron@xxxxxxxxxxx
> To: harp-l@xxxxxxxxxx
> Date: Sat, 19 Dec 2009 21:07:20 -0500
> Subject: [Harp-L] Buterfield the entertainer
> 
> Wilson, Estrin, Primich, and others can be identified by their
> style and tone in just a few measures at most. 

 

While I find this to be true...for those of us with great ears,

I'm surprised at the same time, because for me, I could always

identify Paul within just a few notes. His 60's stuff with Bloomfield

and company didn't hit me as hard artistically and creatively as his early

70's material when he added the bigger band and the horns.

 

I've posted this statement many times over the years I've been here

on the L train....but the record that really turned me into a huge Butter

fan back when it was released was The Paul Butterfield "Live" double

LP on Bearsville back in 1973. Recorded Live at The Troubador in L.A.

and produced by Todd Rundgren. People can now find this recording out

on CD as it's finally been re-issued. The CD I recently found online is

released by Wounded Bird Records. (WOU2001) The CD says it was 

recorded in 1970...but I'm sure the original LP was from 1973.

 

The only reason I mention this recording is because until one hears

this material a few times...you can't begin to get a handle on Pauls

uniqueness and talents as an artist.  I like ALLOT of harmonica players,

all for their own merits & their abilty to turn something inside of me On.

So for me...this was the Butter LP that opened my ears to a new level

and inspired me to become a much better player at the age of 17. 

I'm 53 now. Before that LP was in my possesion, I was a Sonny Boy II

deciple, then Cotton & Wells. But for some reason, it was Pauls sound

on that record that captivated me...and still does. And that, my friends,

will never change. Doesnt mean I like Paul better then James, or Junior,

or Rod better then Bill...or blah blah blah...because when I'm eating and

enjoying a good crisp apple...I ain't thinking about no juicy Orange. 

& Visa-Versa. I try not to get hung up on that whole "whose better" deal.

 

> Bet in the fifties some guys were yakking about Little
> Walter just copying Sonny Boy. It's all fun and great to have the
> electronic resources to take a trip to any point in musical history and
> create myths about how well and why. 
> Walter played harp because it was a cheap investment and was his ticket. As
> he also played guitar, during the time of some really great guitar players,
> he stuck with the harp and made it his niche. Bet if he could have made $5
> a night more playing guitar, that would have been what he would have played.


An interesting point Ron. Which knowing this list, will open a whole nuther

thread chapter on the merits & influence of LW...lol. 

 

Here's my .03 cents...I'd say in the late 40's they may have been saying

that LW was just coppin John Lee Licks...but by 1952....I'd have to disagree,

and say that once Walter started waxing on vinyl through an amp...

that he was miles and miles ahead of the whole pack. I don't think people

really realize just how Huge Walter was in the early 50's. Anyway...that's

debate for a whole nuther discussion I guess. If anyone hasn't read the

book, "Blues With A Feeling - The Little Walter Story"...do yourself a favor

and get it. Thank you Scott Dirks, Tony Glover, & Ward Gaines for bringing

this great book to light in 2002! 

 

Harpy Holidays to all you harpsuckers!!!

 

~Donnie~