Tuesday, 8 October 2013

Otis Rush & Buddy Guy - Petrillo Bandshell Chicago 1988-06-10 (Bootleg)

Buddy Guy - Worried Blues, UK EP 1963


Size: 164 MB
Bitrate: 320
mp3
Found in my BluesMobile
No Artwork

♦♦♦ Otis Rush ♦♦♦
Otis Rush (born April 29, 1935 in Philadelphia, Mississippi) is a blues musician, singer and guitarist. His distinctive guitar style features a slow burning sound and long bent notes. With similar qualities to Magic Sam and Buddy Guy, his sound became known as West Side Chicago blues and became an influence on many musicians including Michael Bloomfield and Eric Clapton.

Rush is left-handed and, unlike many other left-handed guitarists, plays a left-handed instrument strung upside-down with the low E string at the bottom. He played often with the little finger of his pick hand curled under the low E for positioning. It is widely believed that this contributes to his distinctive sound. He has a wide-ranging, powerful tenor voice.

After moving to Chicago, Illinois in 1948, Rush made a name for himself playing in clubs on both the South Side and West Side blues scenes. From 1956 to 1958, he recorded for the Cobra Records and released eight singles, some featuring Ike Turner or Jody Williams on guitar. His first single "I Can't Quit You Baby" in 1956 reached No. 6 on Billboard's R&B chart. During his tenure with Cobra, he recorded some of his well known songs such as "Double Trouble" and "All Your Love (I Miss Loving)."

After Cobra Records went bankrupt in 1959, Rush landed a recording contract with Chess in 1960. He recorded eight tracks for the label, four of which were released on two singles that year. Six tracks including the two singles later came out on "Door To Door" album in 1969, a compilation also featuring Chess recordings by Albert King.

He also went into the studio for Duke Records in 1962, but only one single "Homework/I Have to Laugh" was issued from the label. It also received a release in Great Britain on Vocalion VP9260 in 1963. In 1965, he recorded for Vanguard which can be heard on the label's compilation album, Chicago/The Blues/Today! Vol.2.

In the 1960s, Rush began playing in other cities in the U.S. and also to Europe, most notably the American Folk Blues Festival.

In 1969, the album Mourning in the Morning was released on Cotillion Records. Recorded at the FAME Studios in Muscle Shoals, Alabama, the album was produced by Michael Bloomfield and Nick Gravenites (then of Electric Flag). The sound that incorporated soul and rock was a brand new direction for Rush.
In 1971, Rush recorded the album Right Place, Wrong Time in San Francisco, California for Capitol Records, but Capitol decided not to release it. The album was finally released in 1976 when Rush purchased the master from Capitol and had it released by P-Vine Records in Japan. Bullfrog Records released it in the U.S. soon after. The album generally has since gained a reputation as one of the best works by Rush. In the 1970s, he also released some albums on Delmark Records and also from Sonet Records in Europe, but by the end of the decade he stopped performing and recording.

Otis Rush - So Many Roads UK EP 1965
Rush made a come back in 1985 making a U.S. tour and releasing the live album, Tops, recorded at the San Francisco Blues Festival.

In 1994, Rush released Ain't Enough Comin' In, the first studio album in 16 years. Any Place I'm Goin' followed in 1998, and Rush earned his first Grammy Award for Best Traditional Blues Album in 1999.
Though he has not recorded a new studio album since 1998, he continued to tour and perform. In 2002, he was featured on the Bo Diddley tribute album Hey Bo Diddley - A Tribute!, performing the song "I'm A Man" produced by Carla Olson.

However, he suffered a stroke in 2004 which has kept him from performing since. In 2006, Rush released his latest CD, Live and From San Francisco on Blues Express Records, a live recording from 1999. Video footage of the same show was released on the DVD Live Part 1 in 2003.

Rush has two daughters and two sons from a previous marriage and 2 daughters from his second marriage, Lena and Sophia.

♦♦♦ Buddy Guy ♦♦♦
George "Buddy" Guy (born July 30, 1936) is an American blues guitarist and singer. Critically acclaimed, he is a pioneer of the Chicago blues sound and has served as an influence to some of the most notable musicians of his generation, including Eric Clapton, Jimmy Page, Jimi Hendrix and Stevie Ray Vaughan. In the 1960s Guy was a member of Muddy Waters' band and was a house guitarist at Chess Records. He can be heard on Howlin' Wolf's "Killing Floor" and Koko Taylor's "Wang Dang Doodle" as well as on his own Chess sides and the series of records he made with harmonica player Junior Wells.

Ranked 30th in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time", Guy is known for his showmanship on stage: playing his guitar with drumsticks or strolling into the audience while playing solos. His song "Stone Crazy" was ranked 78th in Rolling Stone's list of the 100 Greatest Guitar Songs of All Time.

Guy's autobiography, When I Left Home: My Story, was released on May 8, 2012.

Born and raised in Lettsworth, Louisiana, Guy began learning guitar on a two string diddley bow he made. Later he was given a Harmony acoustic guitar, which, decades later in Guy's lengthy career was donated to the Rock and Roll Hall of Fame. In the early '50s he began performing with bands in Baton Rouge. Soon after moving to Chicago in 1957, Guy fell under the influence of Muddy Waters. In 1958, a competition with West Side guitarists Magic Sam and Otis Rush gave Guy a record contract. Soon afterwards he recorded for Cobra Records. He recorded sessions with Junior Wells for Delmark Records under the pseudonym Friendly Chap in 1965 and 1966.

Guy’s early career was held back by both conservative business choices made by his record company (Chess Records) and "the scorn, diminishments and petty subterfuge from a few jealous rivals"[citation needed]. Chess, Guy’s record label from 1959 to 1968, refused to record Buddy Guy’s novel style that was similar to his live shows. Leonard Chess (Chess founder and 1987 Rock and Roll Hall of Fame inductee) denounced Guy’s playing as "noise". In the early 1960s, Chess tried recording Guy as a solo artist with R&B ballads, jazz instrumentals, soul and novelty dance tunes, but none was released as a single. Guy’s only Chess album, "Left My Blues in San Francisco," was finally issued in 1967. Most of the songs belong stylistically to the era's soul boom, with orchestrations by Gene Barge and Charlie Stepney. Chess used Guy mainly as a session guitarist to back Muddy Waters, Howlin' Wolf, Little Walter, Sonny Boy Williamson, Koko Taylor and others.
Buddy Guy appeared onstage at the March 1969 Supershow at Staines, England, that also included Eric Clapton, Led Zeppelin, Jack Bruce, Stephen Stills, Buddy Miles, Glenn Campbell, Roland Kirk, Jon Hiseman, and The Misunderstood. But by the late 1960s, Guy's star was in decline.

Guy's career finally took off during the blues revival period of the late 1980s and early 1990s. It was sparked by Clapton's request that Guy be part of the '24 Nights' all-star blues guitar lineup at London's Royal Albert Hall and Guy's subsequent signing with Silvertone Records.

Guy performs an annual residency at his own Buddy Guy's Legends, a Chicago blues club, each January.

While Buddy Guy's music is often labeled Chicago blues, his style is unique and separate. His music can vary from the most traditional, deepest blues to a creative, unpredictable and radical gumbo of the blues, avant rock, soul and free jazz that morphs at each night’s performance.

As New York Times music critic Jon Pareles noted in 2004:

Mr. Guy, 68, mingles anarchy, virtuosity, deep blues and hammy shtick in ways that keep all eyes on him... [Guy] loves extremes: sudden drops from loud to soft, or a sweet, sustained guitar solo followed by a jolt of speed, or a high, imploring vocal cut off with a rasp...Whether he's singing with gentle menace or bending new curves into a blue note, he is a master of tension and release, and his every wayward impulse was riveting.

Otis Rush - US Single 1957
In an interview taped April 14, 2000 for the Cleveland college station, WRUW-FM, Guy said "The purpose of me trying to play the kind of rocky stuff is to get airplay...I find myself kind of searching, hoping I'll hit the right notes, say the right things, maybe they'll put me on one of these big stations, what they call 'classic'...if you get Eric Clapton to play a Muddy Waters song, they call it classic, and they will put it on that station, but you'll never hear Muddy Waters."

For almost 50 years, Guy performed flamboyant live concerts of energetic blues and blues rock, predating the 1960s blues rockers. As a musician, he had a fundamental impact on the blues and on rock and roll, influencing a new generation of artists.

Buddy Guy has been called the bridge between the blues and rock and roll. He is one of the historic links between Chicago electric blues pioneers Muddy Waters and Howlin' Wolf and popular musicians like Eric Clapton, Jeff Beck, Jimi Hendrix and Jimmy Page as well as later revivalists like Stevie Ray Vaughan. Vaughan stated that, "Without Buddy Guy, there would be no Stevie Ray Vaughan." Guitarist magazine observed:

Without Buddy Guy, the blues, not to mention rock as we know it, might be a heckuva lot less interesting today. Take the blues out of contemporary rock music—or pop, jazz and funk for that matter—and what you have left is a wholly spineless affair. A tasteless stew. Makes you shudder to think about it...

In addition, Guy's pathfinding guitar techniques also contributed greatly to rock and roll music. His guitar playing was loud and aggressive; used pioneering distortion and feedback techniques; employed longer solos; had shifts of volume and texture; and was driven by emotion and impulse. These lessons were eagerly learned and applied by the new wave of 1960s British artists and later became basic attributes of blues-rock music and its offspring, hard rock and heavy metal music. Jeff Beck realized in the early 1960s: "I didn't know a Strat could sound like that — until I heard Buddy's tracks on the Blues From Big Bill's Copa Cabana album" (reissue of 1963 Folk Festival Of The Blues album) and "It was the total manic abandon in Buddy's solos. They broke all boundaries. I just thought, this is more like it! Also, his solos weren't restricted to a three-minute pop format; they were long and really developed."

Clapton has stated that he got the idea for a blues-rock power trio while watching Buddy Guy's trio perform in England in 1965. Clapton later formed the rock band Cream, which was "the first rock supergroup to become superstars" and was also "the first top group to truly exploit the power-trio format, in the process laying the foundation for much blues-rock and hard rock of the 1960s and 1970s."

Eric Clapton said "Buddy Guy was to me what Elvis was for others." Clapton said in a 1985 Musician magazine article that "Buddy Guy is by far and without a doubt the best guitar player alive...if you see him in person, the way he plays is beyond anyone. Total freedom of spirit, I guess. He really changed the course of rock and roll blues."

Recalls Guy: "Eric Clapton and I are the best of friends and I like the tune "Strange Brew" and we were sitting and having a drink one day and I said 'Man, that "Strange Brew"...you just cracked me up with that note.' And he said 'You should...cause it's your licks...' " As soon as Clapton completed his famous Derek & the Dominos sessions in October 1970, he co-produced (with Ahmet Ertegün and Tom Dowd) the Buddy Guy & Junior Wells Play The Blues album with Guy's longtime harp and vocal compatriot, Junior Wells. The record, released in 1972, is regarded by some critics as among the finest electric blues recordings of the modern era.

In recognition of Guy's influence on Hendrix's career, the Hendrix family invited Buddy Guy to headline all-star casts at several Jimi Hendrix tribute concerts they organized in recent years, "calling on a legend to celebrate a legend." Jimi Hendrix himself once said that "Heaven is lying at Buddy Guy’s feet while listening to him play guitar."

Songs such as "Red House", "Voodoo Chile" and "Voodoo Child (Slight Return)" partly came from the sonic world that Buddy Guy helped to create. According to the Fender Players' Club: "Almost ten years before Jimi Hendrix would electrify the rock world with his high-voltage voodoo blues, Buddy Guy was shocking juke joint patrons in Baton Rouge with his own brand of high-octane blues. Ironically, when Buddy’s playing technique and flamboyant showmanship were later revealed to crossover audiences in the late Sixties, it was erroneously assumed that he was imitating Hendrix." (In 1993, Guy covered "Red House" on Stone Free: A Tribute to Jimi Hendrix.)

Stevie Ray Vaughan once declared that Buddy Guy "plays from a place that I've never heard anyone play." Vaughan continued:

Buddy can go from one end of the spectrum to another. He can play quieter than anybody I've ever heard, or wilder and louder than anybody I've ever heard. I play pretty loud a lot of times, but Buddy's tones are incredible. He pulls such emotion out of so little volume. Buddy just has this cool feel to everything he does. And when he sings, it's just compounded. Girls fall over and sweat and die! Every once in a while I get the chance to play with Buddy, and he gets me every time, because we could try to go to Mars on guitars but then he'll start singing, sing a couple of lines, and then stick the mike in front of me! What are you gonna do? What is a person gonna do?!

Jeff Beck affirmed:
Geez, you can't forget Buddy Guy. He transcended blues and started becoming theater. It was high art, kind of like drama theater when he played, you know. He was playing behind his head long before Hendrix. I once saw him throw the guitar up in the air and catch it in the same chord.

Beck recalled the night he and Stevie Ray Vaughan jammed with Guy at Buddy Guy’s Legends club in Chicago: "That was just the most incredible stuff I ever heard in my life. The three of us all jammed and it was so thrilling. That is as close you can come to the heart of the blues." According to Jimmy Page: "Buddy Guy is an absolute monster" and "There were a number of albums that everybody got tuned into in the early days. There was one in particular called, I think, American Folk Festival Of The Blues, which featured Buddy Guy. He just astounded everybody."

Singer-songwriter and guitarist John Mayer, who has performed with Guy on numerous occasions (including with Clapton's Crossroads Guitar Festival and on PBS' SoundStage) and collaborated with him on Guy's 2005 album Bring 'Em In, cited on several occasions that Buddy Guy was one of his top influences.

Former Rolling Stones bassist Bill Wyman: "Guitar Legends do not come any better than Buddy Guy. He is feted by his peers and loved by his fans for his ability to make the guitar both talk and cry the blues. Such is Buddy's mastery of the guitar that there is virtually no guitarist that he cannot imitate."

Guy has opened for the Rolling Stones on numerous tours since the early 1970s. Slash: "Buddy Guy is the perfect combination of R&B and hardcore rock and roll." ZZ Top’s Billy Gibbons: "He (Buddy Guy) ain't no trickster. He may appear surprised by his own instant ability but, clearly, he knows what's up."

Guy was a judge for the 6th and 8th annual Independent Music Awards to support independent artists.

Guy appeared and performed in an episode of the popular children's show, Jack's Big Music Show, as the "King of Swing". Guy has influenced the styles of subsequent artists such as Jesse Marchant of JBM.

On February 21, 2012, Guy performed in concert at the White House for President Barack Obama and First Lady Michelle. During the finale of the concert Guy successfully encouraged the President to sing a few bars of Sweet Home Chicago.

Otis Rush & Buddy Guy 1988-06-10
Petrillo Bandshell, Grant Park
Chicago, IL, NPR broadcast

01. Stage intro 
02. I'm A Man (Inst.)
        -W/Otis Rush-
03. Inst. Intro Jam
04. Inst.?
05. All Your Love
06. Crosscut Saw
07. I Wonder Why (Inst.)
08. Buddy Guy Intro Jam
09. Five Long Years
10. Look On, Yonder Wall
11. Things (That) I Used To Do W.Otis Rush & Buddy Guy
12. I Smell A Rat
13. Gambler's Blues
14. -Stage Outro-
15. -Post Show interview W/Buddy Guy-

Notes: There is a tape flip at 02:49 of track 10.I removed about 02:57 of stage announcement and NPR and WBEZ cut-ins between tracks 14 and 15. I am suprised that a master copy of this nationwide NPR broadcast has yet to surface, but this will give us all something to listen to until it does. As always, I am offering this in hopes that it be further shared. "Don't even think about it, just do it." - Bob Weir

1. Link
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2. Link
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1 comment:

Anonymous said...

Excellent concert!
Thanks
JJ