Paul Vaughn Butterfield
b. December 17th, 1942 in Chicago (Illinois)
d. May 4th, 1987 in Los Angeles (California)
AN OFFER YOU CAN'T REFUSE
Red Lightnin'
MIL
Summer 1963
Fils d'un avocat et d'une peintre, il étudie d'abord la flûte classique avant de s'intéresser au blues. Avec ses amis Nick Gravenites et Elvin Bishop, Paul fréquente les clubs de Chicago et assiste aux concerts des meilleurs bluesmen de l'époque (Muddy Waters, Little Walter, Otis Rush parmi d'autres). Devenu harmoniciste, il joue régulièrement au club Big Johns dans le North Side de Chicago avec Bishop, Jerome Arnold et Sam Lay. Ce recueil proposé par Red Lightnin' - grâce à Ian Sippen et Peter Shertser - reprend un de ses concerts au Big Johns de Chicago. Paul y est accompagné ce soir là par "Little" Smokey Smothers, Jerome Arnold et Sam Lay. Un document intéressant avec une qualité sonore un peu étouffée mais on peut apprécier le superbe jeu d'harmonica de Paul Butterfield ("Got my mojo working", "Loaded").
The son of a lawyer and a painter, he first studied classical flute before becoming interested in blues. With his friends Nick Gravenites and Elvin Bishop, Paul visits frequently Chicago clubs and attends concerts of the best bluesmen of the time (Muddy Waters, Little Walter, Otis Rush among others). Became an harmonica player, he plays regularly at Big Johns club on the Chicago North Side with Bishop, Jerome Arnold and Sam Lay. This collection issued by Red Lightnin' - thanks to Ian Sippen and Peter Shertser - resumes one of his concerts at Chicago's Big Johns. Paul is accompanied by "Little" Smokey Smothers, Jerome Arnold and Sam Lay. An interesting document with a bit muffled sound quality but we can appreciate Paul Butterfield's superb harmonica ("Got my mojo working", "Loaded").
FOLKSONG '65
Elektra
WHAT'S SHAKIN'
Elektra
THE ORIGINAL LOST ELEKTRA SESSIONS
Elektra
December 1964
Remarqué par le producteur Paul Rothchild (futur producteur des Doors), le groupe - qui vient d'intégrer le guitariste Mike Bloomfield - signe chez Elektra fin 1964 et enregistre ses premiers titres. Mais Rothchild n'est pas convaincu par ce qui aurait dû être leur premier album et les bandes ne seront finalement publiées qu'en 1995. Cependant, il faut signaler que quelques morceaux avaient été publiés dans les anthologies Elektra "Folksong '65" (avec une première version de "Born in Chicago") et "What's shakin'" ("Off the wall" et "One more mile" n'ont d'ailleurs pas été repris dans l'album). Remarquable disque de pur Chicago blues dynamique où brille constamment l'harmonica virtuose de Paul Butterfield. Constitué en grande partie de reprises judicieusement jouées ("Just to be with you", "Hate to see you go", "Mellow down easy") et de quelques compositions originales ("Nut popper #1", "Our love is driftin'").
Spotted by producer Paul Rothchild (future Doors producer), the band - which has just joined the guitarist Mike Bloomfield - signed with Elektra at the end of 1964 and recorded his first titles. But Rothchild is not convinced by what should have been their first album and the tapes will finally be released in 1995. However, it should be noted that some tracks were issued in Elektra anthologies "Folksong '65" (with a first version of "Born in Chicago") and "What's shakin'" ("Off the wall" and "One more mile" have not been included in the album). Remarkable disc of pure and dynamic Chicago blues where constantly shines the virtuoso harmonica of Paul Butterfield. Made up of mostly carefully played covers ("Just to be with you", "Hate to see you go", "Mellow down easy") and some original compositions ("Nut popper # 1", "Our love is driftin'").
FESTIVAL : NEWPORT FOLK FESTIVAL '65
Vanguard
NEWPORT FOLK FESTIVAL : BEST OF THE BLUES 1959-1968
Vanguard
BLUES WITH A FEELING
Vanguard
DROPPIN' IN WITH PAUL BUTTERFIELD BLUES BAND
Gold Star
Colosseum
July 1965
Invité au festival folk de Newport lors de l'été 1965, le Paul Butterfield Blues Band attira l'attention du public et put toucher un nouveau public. Ils jouent d'excellentes versions de "Blues with a feeling", "Born in Chicago", "Mellow down easy", "Look over yonders wall". Ces titres sont disséminés dans plusieurs anthologies Vanguard et certains d'entre eux sont rassemblés dans "Droppin' in with Paul Butterfield Blues Band".
Invited at the Newport folk festival in the summer of 1965, the Paul Butterfield Blues Band caught the attention of the public and was able to reach a new audience. They play excellent versions of "Blues with a feeling", "Born in Chicago", "Mellow down easy", "Look over yonders wall". These titles are scattered in several Vanguard anthologies and some of them are collected in "Droppin' in with Paul Butterfield Blues Band".
DROPPIN' IN WITH PAUL BUTTERFIELD BLUES BAND
Gold Star
Colosseum
July 1965 - September 1966
THE PAUL BUTTERFIELD BLUES BAND
Elektra
September 1965
Premier vrai album du Paul Butterfield Blues Band (qui vient juste d'embaucher le claviériste Mark Naftalin) produit par Paul Rothchild. Un disque fabuleux rempli de pur Chicago blues joué de manière intense et passionnée par des musiciens exceptionnels. La fluidité de l'harmonica de Paul Butterfield, la slide guitare experte de Mike Bloomfield où la batterie légère et dynamique de Sam Lay font merveille. Des titres originaux dont le superbe "Born in Chicago" (composé par Nick Gravenites) mais aussi "Screamin'" et "Our love is driftin'" et des reprises remarquables comme "Shake your moneymaker", "Mellow down easy", "Mystery train", "I got my mojo working" (chanté par Sam Lay).
First true album of the Paul Butterfield Blues Band (which has just hired keyboardist Mark Naftalin) produced by Paul Rothchild. A fabulous record filled with pure Chicago blues played intensely and passionately by exceptional musicians. The fluidity of Paul Butterfield's harmonica, Mike Bloomfield's expert guitar slide, and Sam Lay's light and dynamic drumming are wonderful. Original titles including the superb "Born in Chicago" (composed by Nick Gravenites) but also "Screamin'" and "Our love is driftin'" and remarkable covers such as "Shake your moneymaker", "Mellow down easy", "Mystery train", "I got my mojo working" (sung by Sam Lay).
GOT A MIND TO GIVE UP LIVING
Real Gone
May 1966
Concert bouillant capté au Unicorn Coffee House de Boston quelques semaines avant l'enregistrement de "East west". Les bandes possèdent une qualité sonore un peu caverneuse mais globalement satisfaisante. Par contre, la performance du groupe s'avère de premier plan avec notamment les deux longs instrumentaux "Work song" et "Comin' home baby".
Boiling concert captured at Unicorn Coffee House in Boston a few weeks before the recording of "East West". The tapes have a little cavernous sound quality but overall satisfactory. On the other hand, the group's performance is proving to be first-rate with the two instrumental "Work Song" and "Comin' home baby".
EAST WEST
Elektra
July 1966
Second album pour Elektra produit par Paul Rothchild et Mark Abramson. Plus ambitieux, celui-ci mélange leur blues à différents styles comme sur la surprenante reprise du standard jazz de Nat Adderley "Work song", le jazzy et atmosphérique "Never say no" et surtout le long instrumental "East west" prétexte à de nombreuses expérimentations psychédéliques. Les titres blues apparaissent également très convaincants : "Walkin' blues", "I got a mind to give up living", "Two trains running". Un disque aventureux et stimulant. Pour cet album, Sam Lay - qui était souffrant au moment de l'enregistrement - est remplacé par le batteur Billy Davenport.
Second album for Elektra produced by Paul Rothchild and Mark Abramson. More ambitious, this one mixes their blues with different styles as on the surprising cover of the jazz standard Nat Adderley's "Work song", the jazzy and atmospheric "Never say no" and especially the long instrumental "East west" pretext to many psychedelic experiments. The blues tracks also appear very convincing : "Walkin' blues", "I got a mind to give up living", "Two trains running". An adventurous and stimulating record. For this album, Sam Lay - who was ailing at the time of recording - is replaced by drummer Billy Davenport.
JOHN MAYALL WITH PAUL BUTTERFIELD (EP)
Decca
November 1966
EAST WEST LIVE
Winner
Winter 1966 - Winter 1967
Disque live étonnant, conçu par Mark Naftalin (et proposé sur son propre label Winner), donnant à écouter trois versions (respectivement 12, 16 et 28 minutes) capturées entre 1966 et 1967 de leur fameux instrumental blues-rock psychédélique "East west". Un programme original qu'on destinera préférablement aux fans confirmés du Paul Butterfield Blues Band.
Amazing live record, designed by Mark Naftalin (and proposed on his own Winner label), giving to listen to three versions (respectively 12, 16 and 28 minutes) captured between 1966 and 1967 of their famous instrumental psychedelic blues-rock "East west". An original program that will be preferably advised to confirmed fans of the Paul Butterfield Blues Band.
STRAWBERRY JAM
Winner
Winter 1966 - Winter 1968
Autre recueil de bandes live éditées par Mark Naftalin sur sa marque Winner. La qualité sonore est plutôt correcte. On trouve quelques pistes rarement jouées par ailleurs : "Cha cha in blues" et l'instrumental "Strawberry jam".
Another collection of live tapes issued by Mark Naftalin on his Winner imprint. The sound quality is pretty good. There are some tracks rarely played elsewhere : "Cha cha in blues" and the instrumental "Strawberry jam".
THE RESURRECTION OF PIGBOY CRABSHAW
Elektra
1967
Pour ce troisième album (produit par John Court), Jerome Arnold, Billy Davenport et Mike Bloomfield sont partis vers d'autres horizons. Le line-up du groupe a donc changé avec l'arrivée de Bugsy Maugh (basse), Phil Wilson (batterie) ainsi qu'une section cuivres (Gene Dinwiddie, David Sanborn, Keith Johnson). Influences Jazz-Soul très présentes et qui tranchent avec ses opus précédents : "One more heartache", "Driftin' and driftin'", "Born under a bad sign", "Drivin' wheel", "Droppin' out".
For this third album (produced by John Court), Jerome Arnold, Billy Davenport and Mike Bloomfield have gone to other horizons. The line-up of the group has changed with the arrival of Bugsy Maugh (bass), Phil Wilson (drums) and a horn section (Gene Dinwiddie, David Sanborn, Keith Johnson). The Jazz-Soul influences are very present and make a difference with his previous opus : "One more heartache", "Driftin' and driftin'", "Born under a bad sign", "Drivin' wheel", "Droppin' out".
LIVE AT MONTEREY POP FESTIVAL
Document
MONTEREY POP FESTIVAL
Evil
Rhino
June 1967
IN MY OWN DREAM
Elektra
1968
Désormais, Paul partage le chant avec Elvin Bishop, Bugsy Maugh et Phil Wilson. Sous l'influence de Maugh et de la section cuivres, l'influence Jazz-Soul s'accentue nettement ("Last hope's gone"). On retient le puissant "Get yourself together" et la nouvelle version de "Just to be with you". Fin 1968, Elvin Bishop et Mark Naftalin quittent à leur tour le groupe.
Paul now shares singing duties with Elvin Bishop, Bugsy Maugh and Phil Wilson. Under the influence of Maugh and the horn section, the Jazz-Soul influence sharply accentuated ("Last hope's gone"). We point out the powerful "Get yourself together" and the new version of "Just to be with you". At the end of 1968, Elvin Bishop and Mark Naftalin left the band.
KEEP ON MOVING
Elektra
1969
En avril 1969, Paul Butterfield joue derrière Muddy Waters sur son superbe album "Fathers and sons". La même année, il enregistre "Keep on moving" encore très influencé par la Soul (produit par Jerry Ragovoy). "No amount of loving", "Losing hand", "Love disease" témoignent de ce nouveau style. Il ne faut pas oublier également l'hymne hippie "Love march" et le funky "So far so good".
In april 1969, Paul Butterfield played behind Muddy Waters on his beautiful "Fathers and sons" album. The same year, he recorded "Keep on moving" still very influenced by Soul (produced by Jerry Ragovoy). "No amount of loving", "Losing hand", "Love disease" show this new style. Do not forget also the hippie hymn "Love march" and the funky "So far so good".
WOODSTOCK
Atlantic
Cotillion
WOODSTOCK 40 YEARS ON : BACK TO YASGUR'S FARM
Rhino
LIVE IN WHITE LAKE
Elektra
Rhino
August 1969
Dans le CD "Live in White Lake" proposé par Elektra, on peut écouter l'intégralité du concert du Paul Butterfield Blues Band au festival de Woodstock. Le groupe joue de longues versions intenses mais inégales - souvent autour de 10 minutes - de ses titres. On retient "No amount of loving", "Morning sunrise", "All in a day". Un seul morceau sera retenu sur la bande-son originale (l'excellent "Love march") et malheureusement le Paul Butterfield Blues Band n'apparait pas dans le film documentaire réalisé par Michael Wadleigh. Des titres supplémentaires furent proposés dans des éditions suivantes mais il a fallu attendre 2015 pour pouvoir écouter la performance intégrale du Paul Butterfield Blues Band.
On Elektra's "Live in White Lake" CD, you can listen to the entire Paul Butterfield Blues Band concert at the Woodstock Festival. The band plays long intense but uneven versions - often around 10 minutes - of its titles. We can point out "No amount of loving", "Morning sunrise", "All in a day". Only one track will be retained on the original soundtrack (the excellent "Love march") and unfortunately the Paul Butterfield Blues Band does not appear in the documentary film directed by Michael Wadleigh. Additional titles were proposed in subsequent issues but it was not until 2015 that we are able to hear the full performance of the Paul Butterfield Blues Band.
LIVE
Elektra
Rhino Handmade
March 1970
Recueil de deux soirées au club Troubadour de Los Angeles. La qualité sonore est excellente (les bandes furent produites par Todd Rundgren). On trouve un groupe compact en totale liberté composé de Paul Butterfield (voix, harmonica, piano), Ted Harris (claviers), Ralph Wash (guitare), Rod Hicks (basse), George Davidson (batterie) et les cuivres Gene Dinwiddie, Steve Madaio et Trevor Lawrence. Plusieurs très bons moments comme "Love disease", "Number nine", "No amount of loving", "Losing hand", "All in a day". Probablement un de ses meilleurs disque live.
Collection of two evenings at the Troubadour Club in Los Angeles. The sound quality is excellent (the tapes were produced by Todd Rundgren). We find a compact group in total freedom composed of Paul Butterfield (voice, harmonica, piano), Ted Harris (keyboards), Ralph Wash (guitar), Rod Hicks (bass), George Davidson (drums) and horns Gene Dinwiddie, Steve Madaio and Trevor Lawrence. Several very good moments like "Love disease", "Number nine", "No amount of loving", "Losing hand", "All in a day". Probably one of his best live record.
A&R STUDIOS : NEW YORK
Keyhole
LIVE : NEW YORK 1970
Rockbeat
Floating World
December 1970
Ces bandes - non-officielles ou pirates - proviennent d'un enregistrement de la radio WLPJ de New York. Programme inégal avec des longueurs mais qualité sonore très satisfaisante. On peut ressortir "Play on" (avec un très bon solo de basse de Rod Hicks) et "The boxer" (avec un solo de batterie de Dennis Whitted).
These tapes - unofficial or bootleg - come from a recording of WLPJ radio in New York. Uneven program with lengths but very satisfactory sound quality. We can bring out "Play on" (with a very good bass solo by Rod Hicks) and "The Boxer" (with a drum solo by Dennis Whitted).
SOMETIMES I JUST FEEL LIKE SMILIN'
Elektra
1971
Dernier disque du Paul Butterfield Blues Band avant sa séparation toujours produit par Paul Rothchild (mixage de Todd Rundgren). Coloration Soul-Gospel cuivrée très présente (presque Funk par moments) sur des morceaux comme "Play on", "1000 ways", "Pretty woman", "Blind leading the blind". Le reste du programme semble moins abouti. Après cet album, le groupe se sépare officiellement.
Last album of Paul Butterfield Blues Band before his separation always produced by Paul Rothchild (mixing by Todd Rundgren). A very present brassy Soul-Gospel coloring (almost Funk at times) on songs like "Play on", "1000 ways", "Pretty woman", "Blind leading the blind". The rest of the program seems less achieved. After this album, the band officially separates.
STEEL YARD BLUES
Warner Bros
1972
PAUL BUTTERFIELD'S BETTER DAYS
Bearsville
Sequel
Rhino
December 1972
Paul Butterfield forme un nouveau groupe en 1972 : Better Days. Celui-ci est composé de Christopher Parker (batterie), Amos Garrett (guitare), Geoff Muldaur (guitare), Ronnie Barron (claviers) et Billy Rich (basse). la même année, Better Days signe un contrat d'enregistrement avec le label Bearsville d'Albert Grossman. Paul Butterfield retourne avec cet album à un son Blues et Rhythm & Blues avec des pistes comme "New walkin' blues", "Buried alive in the blues" ou "Nobody fault but mine".
Paul Butterfield forms a new band in 1972 : Better Days. It is composed of Christopher Parker (drums), Amos Garrett (guitar), Geoff Muldaur (guitar), Ronnie Barron (keyboards) and Billy Rich (bass). The same year, Better Days signs a recording contract with Albert Grossman's Bearsville label. Paul Butterfield returns with this album to a Blues and Rhythm & Blues sound with tracks like "New walkin' blues", "Buried alive in the blues" or "Nobody fault but mine".
LIVE AT WINTERLAND BALLROOM
Bearsville
Wounded Bird
February 1973
Dans ce concert au Winterland Ballroom de San Francisco, on trouve des versions vigoureuses de "Buried alive in the blues" et "New walkin' blues" qui figurent parmi les moments les plus intéressants de la set-list.
In this concert at the San Francisco's Winterland Ballroom, we find vigorous versions of "Buried alive in the blues" and "New walkin' blues" which are among the most interesting moments of the set-list.
IT ALL COMES BACK
Bearsville
Sequel
Rhino
November 1973
Retour au pur Chicago blues avec "Too many drivers". On apprécie aussi "Win or lose", "Take your pleasure where you find it" mais le disque ne surprend jamais et ennuie un peu l'auditeur. Il s'agit du second et dernier album studio du groupe Better Days.
Back to pure Chicago blues with "Too many drivers". We also like "Win or lose", "Take your pleasure where you find it" but the record never surprises and bores the listener. This is the second and last studio album of the Better Days band.
PUT IT IN YOUR EAR
Bearsville
Rhino
1976
Après avoir de nouveau accompagné Muddy Waters en février 1976 ("The Muddy Waters Woodstock album"), Paul Butterfield grave cet album avec un bataillon de musiciens (cuivres, cordes, choristes). Produit par Henry Glover pour Bearsville, le disque aborde plusieurs styles distincts rendant le programme très hétérogène. La production et les arrangements apparaissent assez lourds et lassants.
After again accompanying Muddy Waters in february 1976 ("The Muddy Waters Woodstock album"), Paul Butterfield engraved this album with a battalion of musicians (horns, strings, choristers). Produced by Henry Glover for Bearsville, the album tackles several distinct styles making the program very heterogeneous. The production and the arrangements appear rather heavy and tedious.
THE LAST WALTZ
Warner Bros
Rhino
November 1976
Il s'agit du célèbre concert d'adieu du groupe The Band au Winterland Ballroom de San Francisco avec de nombreux invités. Il donnera lieu à un documentaire remarquable réalisé par Martin Scorsese. Lors de cette performance, Paul Butterfield chante un morceau en leader ("Mystery train" en duo avec Levon Helm), accompagne Muddy Waters et joue sur deux jams intéressantes.
This is The Band's famous farewell concert at the San Francisco's Winterland Ballroom with many guests. It will result in a remarkable documentary directed by Martin Scorsese. In this performance, Paul Butterfield sings one song as a leader ("Mystery train" in duet with Levon Helm), accompanies Muddy Waters and plays on two interesting jams.
ROCKPALAST : BLUES ROCK LEGENDS vol.2
SPV
September 1978
Capté à la Grugahalle à Essen (Allemagne) en septembre 1978, ce concert possède un son très Rock surtout à cause de la guitare amplifiée de "Buzz" Feiten. Ce son électrique erratique et agressif, sans nuance, ne convient pas à la musique de Paul Butterfield.
Captured at the Grugahalle in Essen (Germany) in september 1978, this concert has a very rock sound especially because of the amplified guitar of "Buzz" Feiten. This erratic and aggressive electric sound, without nuance, is not suitable for the music of Paul Butterfield.
LIVE FROM THE BLUE NOTE
Floating World
December 1979
Concert associé à son ami Rick Danko (transfuge du groupe The Band avec lequel Butterfield a souvent tourné) avec une mauvaise qualité sonore. Danko chante horriblement mal (Paul chante sur un seul morceau et Blondie Chaplin sur deux). Un disque à oublier.
Associated concert with his friend Rick Danko (defector from The Band with which Butterfield has often tour) with poor sound quality. Danko sings horribly wrong (Paul sings on one track and Blondie Chaplin on two). A record to forget.
NORTH SOUTH
Bearsville
Rhino
1981
Pour ce nouvel album studio - le premier depuis "Put it in your ear" - Paul Butterfield s'est entouré de Willie Mitchell et Michael Toles. Arrangements modernes entre Blues et Funk mêlant synthétiseurs et cuivres. Peu inspiré, ce nouveau son peine à intéresser l'auditeur.
For this new studio album - the first since "Put it in your ear" - Paul Butterfield is surrounded by Willie Mitchell and Michael Toles. Modern arrangements between Blues and Funk mixing synthesizers and horns. Little inspired, this new sound barely interest the listener.
LIVE AT THE LONE STAR
Floating World
September 1984
Nouveau concert en trio avec Rick Danko et Richard Manuel. Mal enregistré et manquant cruellement de flamme, ce double live semble interminable à l'écoute.
New concert with Rick Danko and Richard Manuel in a trio configuration. Badly recorded and sorely lacking in flame, this double live seems really endless.
THE LEGENDARY PAUL BUTTERFIELD RIDES AGAIN
Amherst
1986
Dernier album studio de Paul Butterfield, produit par Tom Panunzio, ouvertement Rock comme l'était "North south". L'amateur de Blues sera certainement déçu par ce disque froid et sans âme (avec une version totalement désincarnée de "Mannish boy").
Paul Butterfield's last studio album, produced by Tom Panunzio, openly Rock as was "North south". The Blues lover will certainly be disappointed by this cold and soulless record (with a totally disembodied version of "Mannish boy").