Re: [Harp-L] Butter TV spot

[Ev630 <eviltweed@xxxxxxxxx>]

Hey Rob,

Thanks for that. There have been some really terrific posts in this thread
(including yours) that have given me a lot to think about - so thanks to all
who have weighed in. I know Butterfield is revered, so I hope I haven't
stepped on too many toes - but I am interested in understanding his
influence and importance better. I certainly will buy Tom Ellis' book if it
ever appears.

If you send me a CD I am sure I can put together some obscure stuff for you
that you may not have heard. ;)

cheers
Drew

On Sun, Dec 20, 2009 at 2:37 PM, Robert Paparozzi <chromboy@xxxxxxxxxxxxx>wrote:

>
> 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.
>
>
>