For the first half of the 20th century, music in
America was heavily divided along racial lines. At several key points in
history however, music crossed the divide and subsequently influenced American
music in its entirety. No more prominent meeting point exists, than when
African American Blues music became accepted by white listeners in the mid 1950’s.
An interesting point in this blending of cultures was the appearance of white
musicians imitating this African American blues music. For something that
originated during slavery and was one of the few forms of vocal dissent for an
oppressed culture, this was somewhat sacred for the black community. Yet the
ability to accept this sharing of one another’s culture represents a very
tangible form of tolerance and mutual respect.
Blues music had originated from the work songs of slaves in
the 19th century. It developed over the next 50 years into a
structured genre and a unifying force, for a then subjugated, black culture. At
its core, the blues represented the underlying injustices in the black
community of poverty and loss. As the legendary bluesman Howlin Wolf described
it “When you ain’t got no money, you got the blues. When u aint got no money to
pay your house rent, you still got the blues… If you getting everything you
possess and don’t need nothing then you don’t know right to worry about
nuthin.”
Enter Paul Butterfield, a white, well-to-do, Jewish singer and
harmonica player from Chicago. Butterfield would prove challenge this notion of
the blues, forming a new style stemming from internal emotions instead of the
classical external issues of poverty and race.
Butterfield had anything but the usual upbringing of a blues
artist, the son of a lawyer and a painter he even went to university to study
classical flute. But Butterfield soon fell in love with the sounds of his city,
the great bluesmen of Elmore James, Howlin’ Wolf, Muddy Waters, Willie Dixon.
Butterfield was soon playing in blues clubs across the city, something that
must have intrigued and confused the black audiences of the time.
Elektra Records producer Paul Rothchild heard about the 23 year-old Butterfield and was instantly taken with him. Rothchild had also learned about another young Jewish blues player, a guitarist named Mike Bloomfield. Like Butterfield, Bloomfield came from a wealthy family but had been captivated by Chicago’s blues scene. Rothschild set about creating a blues group that would mix the roots of Chicago blues with this new sound, affectionately named “Jew-Blues” that Butterfield and Bloomfield were leading.
Rothchild brought in Jerome Arnold, Bass, and Sam Lay,
Drums, from Howlin’ Wolf’s band which provided a strong Chicago blues rhythm
section to support Butterfield and Bloomfield. Mark Naftalin was added on organ.
Naftalin was a formidable session man, playing on recordings with John Lee
Hooker, Otis Rush, Van Morrison and many others.
Butterfield and Bloomfield had already gained fame for their
live performances but Rothchild brought them into the studio in late 1965 to
record the groups’ debut album.
In keeping with the lineage of the Chicago Blues, with 8 of
the album’s 11 songs were covers of songs by the likes of Elmore James, Muddy
Waters and Willie Dixon. The results were steeped in the tradition of Chicago
blues yet able to expand on the rising form of eclectic blues, which had taken
off in Britain with artists like Clapton, Mayall and Korner.
Butterfield’s vocals are honest and endearing, while his
harmonica solos pack an emotional punch. On Blues
with Feeling, Butterfield is able to cut deep, preforming the Little Walter
cover as well as the original, with all the rawness of those great early
Chicago players.
Bloomfield is confident and soulful on lead guitar, easily comparable to Clapton and Taylor, who were leading the Blues charge in England. Unlike the electric blues coming from across the Atlantic however, the songs are not built around the guitarist in the same way. Many of Clapton’s blues pieces were guitar solos with the rest of the group just trying to keep up. But in a more traditional fashion, Butterfield and Bloomfield share the limelight, which allows the music to maintain more traditional song structures. The Butterfield-Bloomfield pair is reminiscent of a young Richards and Jagger, two other musicians inspired by music from the Windy City.
The Butterfield Blues Band is an important album both
musically and historically. The album is a collection of talented musicians
playing an excellent selection of songs first and foremost. Yet it proved to be
influential in the wider history of music as well. It opened up blues music
further to white audiences. But in doing this, Butterflied didn’t sell out or
forget his roots. The album is a great time capsule for the influences of 60’s
rock. Chicago Blues was in many ways the precursor to the rock music that has
gripped popular music, and this album provides an invaluable link to the
Chicago lineage.
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