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Downloaded from
YTS.BZ

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Official YIFY movies site:
YTS.BZ

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Testing.

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What do you want to hear?

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We would like to play a song
from our first album,

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it's called Born in Chicago.

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The Paul Butterfield Blues Band,

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a new generation of musicians,
white and black,

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picks up the rhythm and the message

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blues from the South Side of Chicago
to reach a wider audience

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presenting a musical extension of the blues

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to middle-class white amateurs,

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to students around the world,

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Like at that fraternity ball
at Columbia College

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in New York.

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Chicago,

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"Slaughterhouse for the world, maker of tools,
wheat stacker,"

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wrote the poet Carl Sandburg.

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"The city with broad shoulders",
he called her.

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The metropolis "stormy, harsh,

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brawler" of Sandburg is located
in the very center of America.

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Sooner or later,

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all railways in the country
lead to Union Station.

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But this is Central Illinois,
who left from New Orleans

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passing through the delta
from Mississippi and Memphis,

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who brought the blues to the Windy City.

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In the 1940s,

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most southern blacks knew
someone living in Chicago,

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maybe a loved one.

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They crowded into
buildings and neighborhoods

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previously occupied by
other immigrant groups,

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Like the neighborhood around
of Maxwell Street,

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which was known as "Jew Town".

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The musicians flocked
at the open air market

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along Maxwell Street since the days
by Big Bill Broonzy.

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It was not only a
training ground

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for musicians
freshly arrived from the South,

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But with hundreds of people
who clutter the sidewalks

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every evening,

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it was even possible
to earn money

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playing blues on Maxwell Street.

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At the time, at the beginning of the migration,

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most blacks came from the South,

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because there was no work there.

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Many came to Chicago, to Detroit,

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but especially in Chicago.

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They came by train, right?

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By train, by all means

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and if they didn't have a job,
they were going to Maxwell Street

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on Sunday with their guitar,
sat down

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put their hats on
and started playing

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to earn three, four or five dollars,

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what it took to live at the time.

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We can mention all the names,
they were all there.

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Little Walter,

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Sonny Boy Williamson, of Helena, Arkansas.

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There was Muddy Waters from Clarksdale,
in Mississippi.

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If they were on Maxwell Street,
they were there.

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I've lived in Chicago for years,

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but I was born in Mississippi.

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And I grew up in Clarksdale,

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I grew up in a
farm or plantation.

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I started in Mississippi,

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I started by playing the harmonica,

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then at 17, 18 years old,
I switched to guitar.

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In 1942, the archivist of
the Library of Congress,

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Alan Lomax, recorded Muddy Waters

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while he lived and worked
on the Stovall plantation

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in Mississippi.

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The following year,
Muddy moves to Chicago

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and brought country blues to town.

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I found a job.

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I worked during the day, and in the evening,

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I played on weekends, in private parties,
in different houses.

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Just me and my guitar.

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Eventually it spread, you know,

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that they had a good guy from Mississippi.

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They called me the young one
blues singer at the time.

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I believe I created
Chicago blues.

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I think I made Chicago
the capital of real blues.

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I called him the godfather.

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Muddy Waters did more
for the blues that we

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because he lit up Chicago.

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When we think of Chicago blues,

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we think of Muddy Waters.

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Rollin' Stone by Muddy Waters

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was the record that made
know the Chicago blues

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in 1950.

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Released by the brand new
label Chess Records,

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which had seen the light of day three years earlier

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under the name Aristocrat Records.

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Chess was led by two
Polish immigrant brothers,

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Leonard and Phil Chess.

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There would be other small labels

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recording blues in Chicago,
Vee Jay, Cobra, Delmark,

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But Chess Records was there
source of Chicago blues,

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producing not only the greatest records
giants,

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Muddy Waters and Howlin' Wolf,

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but also their talented disciples,
Little Walter,

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Jimmie Rodgers, Sonny Boy Williamson
and Buddy Guy.

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The label entered the charts
pop in the mid-50s

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with the rock and roll hits of Chuck Berry
and Bo Diddley,

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But at the heart of the label's music,

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was the giant of the blues,
Muddy Waters.

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He was the stone
angular from Chess Records

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and the entire Chicago blues scene.

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I know that all
group was rehearsing there.

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Muddy had a little Cadillac,
he always had one.

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I learned a lot from this old man.

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For sure, I learned a lot from him.

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And on this corner there was the Playhouse

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where James Cotton was shot.

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Wolf lived right there, on 43rd.

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You see how close they lived.

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Muddy and Wolf were friends?

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No.

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Enemies?

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Yes.

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It brings back memories.

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Well...

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I will tell you the
things as they are.

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Muddy is nice,

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but he's a little jealous of me,

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in a certain way.

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I'm talking about Muddy,

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but I won't say just one
man is not jealous of me.

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I help him, he took my...

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I gave him two musicians from my band
once or twice.

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Chester Burnett, aka Howlin' Wolf,

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was first recorded in 1950
by Sam Phillips

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on his Sun Records label in Memphis,

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five years before Phillips
discover Elvis Presley.

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In 1952, Wolf moved to Chicago
and signed with Chess Records,

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where he recorded for the rest of his life.

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Wolf was an imposing man,
a walking mountain.

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Everything about him was oversized,

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With his huge hands

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who held his guitar
like a toothpick,

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Until his deep, hoarse rattle

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which seemed to have been invoked

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from the center of the Earth.

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When Wolf moved to Chicago

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and set up a group,

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he called for the young guitarist

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who played with him in Memphis,

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a teenager named Hubert Sumlin.

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He was in Chicago for
start his new group.

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I wanted to play so much.

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I joined Wolf in Chicago.

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He had the blues, because he showed it to me.

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He said to me: “You have to have this,

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"Hubert, you better have them,
because you're playing with me."

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00:13:01,476 --> 00:13:02,912
He had a thing, man.

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He let me play on a recording,

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00:13:06,829 --> 00:13:09,832
And when I played a note, man,
when I heard it, it was serious.

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I'm serious.

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Rock and roll comes from the blues,
that's for sure.

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No matter how you play it,
it's blues.

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In 1960, Muddy Waters and Howlin' Wolf

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were the two twin towers
of a thriving blues scene in Chicago.

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Two giants surrounded by
remarkable community

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incredible musicians.

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There were sidemen like
pianist Otis Spann.

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The tormented genius of the blues piano

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who often played in
Muddy Waters' band.

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The king of the blues harmonica,

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Little Walter Jacobs started playing
on Maxwell Street

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before appearing on the
Muddy Waters' first records,

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00:14:31,566 --> 00:14:34,047
but he quickly created his own group

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after national successes
like Juke and My Babe.

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The sound of Little Walter

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was the very heart of Chicago blues.

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Dominating the Chicago blues scene,

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was Willie Dixon.

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Willie Dixon worked in
the recording studio

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of the Chess brothers.

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Producer, songwriter,

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talent agent and driving force
music from the label.

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Not only did he write
iconic songs

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like Hoochie Coochie Man, Back Door Man,

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"Spoonful" and "The Red Rooster",

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He often played bass on hits
by Chuck Berry.

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All the great musicians
of blues that I met

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00:15:45,031 --> 00:15:46,946
in my life,
I met them in Chicago.

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00:15:46,989 --> 00:15:51,167
When we had Little Walter, Muddy Waters,
James Cotton,

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00:15:51,211 --> 00:15:53,996
Junior Wells, Jimmy Rogers, Howlin' Wolf,

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00:15:54,475 --> 00:15:56,694
Sonny Boy Williamson, Otis Rush,

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Otis Spann, Sunnyland Slim,

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00:16:00,133 --> 00:16:01,917
Willie Dixon, everyone was there.

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00:16:04,050 --> 00:16:05,965
The city was full of
incredible musicians,

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00:16:06,008 --> 00:16:07,923
playing in bars and
tiny boxes

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00:16:07,967 --> 00:16:10,447
in the black neighborhoods of
south and west of Chicago.

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00:16:21,676 --> 00:16:23,852
Every evening, many blues groups

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could be found
throughout the city.

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A whole world that existed

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00:16:28,683 --> 00:16:29,989
without the community
white doesn't know it.

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00:16:31,860 --> 00:16:33,470
If it wasn't Junior
Wells at Pepper's Lounge,

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00:16:33,514 --> 00:16:35,211
it was the brilliant Otis Rush at the Blue Flame.

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00:16:56,015 --> 00:16:58,104
Or the incredible Magic Sam at Silvio's.

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00:17:20,517 --> 00:17:21,953
Or Buddy Guy at Theresa's Lounge.

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00:17:36,881 --> 00:17:38,100
It was the Chicago blues scene

202
00:17:38,144 --> 00:17:39,319
in the early 60s,

203
00:17:39,884 --> 00:17:42,278
buzzing with musicians
fierce and creative.

204
00:17:45,586 --> 00:17:48,893
Yet, at the height of his power,
the blues were dying.

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Artists like James Brown,

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00:17:57,641 --> 00:18:00,731
Jackie Wilson and Sam Cooke dominated
ghetto jukeboxes.

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00:18:02,472 --> 00:18:06,172
Young blacks had rejected the blues
like a relic of the past.

208
00:18:06,781 --> 00:18:09,000
We didn't have a lot of young black people.

209
00:18:09,044 --> 00:18:11,655
And for some reason,
they didn't like the word "blues".

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00:18:17,183 --> 00:18:19,272
It was the Eisenhower era.

211
00:18:19,750 --> 00:18:22,144
and a whole generation of
young white Americans

212
00:18:22,188 --> 00:18:23,711
shared the belief

213
00:18:23,754 --> 00:18:25,756
that their parents didn't understand them.

214
00:18:28,281 --> 00:18:30,109
The American dream could be oppressive.

215
00:18:30,805 --> 00:18:32,328
Many of these young people

216
00:18:32,372 --> 00:18:34,287
protested against rigid conformity
which was imposed on them.

217
00:18:35,984 --> 00:18:37,507
They aspired to something
something different.

218
00:18:38,900 --> 00:18:40,684
Some were looking
refuge in music

219
00:18:40,728 --> 00:18:42,730
against the white world around them.

220
00:18:44,819 --> 00:18:47,082
Some of these lonely young people
and misunderstood

221
00:18:47,126 --> 00:18:49,519
turned towards mysterious corners
and obscure.

222
00:18:59,225 --> 00:19:00,574
At the end of the radio dial,

223
00:19:00,617 --> 00:19:02,750
at the end of the evening,
in special shows

224
00:19:02,793 --> 00:19:04,665
broadcast throughout the Midwest,

225
00:19:05,056 --> 00:19:07,015
they discovered a secret world.

226
00:19:08,886 --> 00:19:13,326
I was 14, it was 1955,
I listened to the radio,

227
00:19:13,369 --> 00:19:16,633
I turned the knob all the way,

228
00:19:16,677 --> 00:19:19,897
until the end of the radio,
and I heard some really crazy music.

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00:19:19,941 --> 00:19:22,639
There was a DJ, his name was Sam Evans

230
00:19:22,683 --> 00:19:24,598
and his show was called Jam with Sam.

231
00:19:24,641 --> 00:19:26,861
And it was about midnight,

232
00:19:26,904 --> 00:19:29,211
and he said: "We're going to go
in the basement now

233
00:19:29,646 --> 00:19:31,996
and turn on this little blue light,

234
00:19:33,128 --> 00:19:35,391
and we're going to listen to jams with Sam.'

235
00:19:35,435 --> 00:19:38,873
And in the background there was this song

236
00:19:38,916 --> 00:19:41,092
by Little Walter, Blue Light.

237
00:19:52,582 --> 00:19:55,063
He released the
reverberations on the harmonica

238
00:19:55,106 --> 00:19:58,414
and everything exploded in my head.

239
00:19:58,458 --> 00:20:03,245
For me it was a bit like
a passport to freedom

240
00:20:03,289 --> 00:20:05,595
and I turned up the volume,

241
00:20:05,639 --> 00:20:07,771
and my parents were a little worried.

242
00:20:08,076 --> 00:20:10,687
But for me,
I discovered a new world.

243
00:20:25,311 --> 00:20:26,703
I didn't know it,

244
00:20:26,747 --> 00:20:28,444
but at the same time, on the North Side,

245
00:20:28,488 --> 00:20:31,404
in the suburbs of Chicago,

246
00:20:31,447 --> 00:20:33,841
teenagers my age discovered
the same station.

247
00:20:39,890 --> 00:20:41,979
And one of them was Michael Bloomfield,

248
00:20:42,023 --> 00:20:44,547
that I would meet
a few years later,

249
00:20:45,156 --> 00:20:48,464
When we were in rock and roll bands
rivals in high school,

250
00:20:48,508 --> 00:20:50,466
we argued about who would play

251
00:20:50,814 --> 00:20:53,077
for 16th birthdays

252
00:20:53,121 --> 00:20:55,297
and we developed mutual respect

253
00:20:55,341 --> 00:20:56,733
and we became friends.

254
00:21:00,171 --> 00:21:02,130
So I was at New Trier High School,
in the hallway,

255
00:21:02,173 --> 00:21:05,525
and a kid with hair
curly comes towards me

256
00:21:06,787 --> 00:21:08,441
and he said to me: "Dude,
I love your pants.”

257
00:21:08,484 --> 00:21:10,269
He knew I was Marshall Chess

258
00:21:10,312 --> 00:21:12,183
and that he knew Chess Records,

259
00:21:12,227 --> 00:21:13,446
but he introduced himself to me.

260
00:21:13,489 --> 00:21:16,797
He used the pants as an excuse

261
00:21:16,840 --> 00:21:18,277
and it was Michael Bloomfield.

262
00:21:18,755 --> 00:21:22,150
And he invited me to his house

263
00:21:22,193 --> 00:21:23,847
and he lived in a big house.

264
00:21:23,891 --> 00:21:25,501
He had a record player in his room

265
00:21:25,545 --> 00:21:28,069
and he was a fan of BB King.

266
00:21:28,112 --> 00:21:30,158
He kept asking me:

267
00:21:30,201 --> 00:21:31,725
“Do you know BB King?”

268
00:21:31,768 --> 00:21:34,467
I know Mike Bloomfield,
even when he was 17,

269
00:21:34,510 --> 00:21:36,947
he wanted to be a blues musician.

270
00:21:36,991 --> 00:21:38,340
Michael and I crossed paths

271
00:21:38,384 --> 00:21:39,733
in the hallways and we said hello to each other.

272
00:21:39,776 --> 00:21:42,344
And once he said:

273
00:21:42,388 --> 00:21:45,347
“Then you have to come with me.

274
00:21:45,391 --> 00:21:47,915
I can borrow my mother's car

275
00:21:48,437 --> 00:21:50,396
and we could go south

276
00:21:50,439 --> 00:21:51,919
and the West Side of Chicago,

277
00:21:51,962 --> 00:21:55,575
which no one was doing at the time.

278
00:21:55,618 --> 00:21:57,141
Michael had been there before

279
00:21:57,185 --> 00:22:00,536
and had formed a relationship
with Howlin' Wolf.

280
00:22:01,494 --> 00:22:04,018
“Come on, let’s go tomorrow night

281
00:22:04,061 --> 00:22:06,150
"and we're playing with Howlin' Wolf."

282
00:22:06,194 --> 00:22:09,371
It's really crazy, Howlin' Wolf,

283
00:22:09,415 --> 00:22:11,199
“Are you sure it’s okay?”

284
00:22:11,242 --> 00:22:13,288
“Trust me.”

285
00:22:13,332 --> 00:22:14,550
It was an adventure.

286
00:22:20,426 --> 00:22:23,951
We went to the West Side
at a club called Silvio's.

287
00:22:25,039 --> 00:22:27,258
Michael said, "Listen to me carefully,

288
00:22:27,302 --> 00:22:29,609
You move straight ahead,
you don't look to the left,

289
00:22:29,652 --> 00:22:31,567
you look to the right and we
sits at the back table

290
00:22:31,611 --> 00:22:33,264
and Wolf will recognize us."

291
00:22:33,308 --> 00:22:35,223
We sat down and
silence settled

292
00:22:35,266 --> 00:22:38,008
in the club and there was
these four little whites

293
00:22:38,052 --> 00:22:41,098
sitting among blues lovers.

294
00:22:41,403 --> 00:22:44,319
Mike Bloomfield,
Wolf let him on stage

295
00:22:44,363 --> 00:22:45,625
and play.

296
00:22:46,190 --> 00:22:47,670
Michael Bloomfield, he has a friend with him,

297
00:22:47,714 --> 00:22:49,237
He’s going to play the keyboard.”

298
00:22:49,585 --> 00:22:51,065
I started to shake.

299
00:22:51,457 --> 00:22:53,372
The first piece of
Wolf was Killing Floor.

300
00:23:00,291 --> 00:23:02,293
We started to play,
Michael started playing guitar

301
00:23:02,337 --> 00:23:04,252
and the public really responded.

302
00:23:04,295 --> 00:23:06,820
"No matter your color,

303
00:23:07,298 --> 00:23:08,691
these guys know how to play.

304
00:23:08,996 --> 00:23:11,128
Wolf knew what would become of them,

305
00:23:11,477 --> 00:23:12,565
Everyone knows it.

306
00:23:13,043 --> 00:23:15,437
They want to learn and they learn.

307
00:23:15,829 --> 00:23:17,004
But listen to me carefully,

308
00:23:17,047 --> 00:23:18,919
Wolf loved these guys, man.

309
00:23:19,963 --> 00:23:21,617
All the great blues singers
live in Chicago.

310
00:23:21,661 --> 00:23:23,793
They play there,
since I was little,

311
00:23:23,837 --> 00:23:25,621
I went there to listen to them,
you see,

312
00:23:25,665 --> 00:23:28,494
I sneaked into bars to see
if I could get in.

313
00:23:28,885 --> 00:23:30,626
I listened to what they were playing.

314
00:23:30,670 --> 00:23:31,801
It upset me.

315
00:23:33,499 --> 00:23:35,370
I wanted to know the history of the blues,

316
00:23:35,718 --> 00:23:37,677
And the best way for me to learn,

317
00:23:37,720 --> 00:23:39,592
it was meeting the guys,
you see?

318
00:23:40,375 --> 00:23:43,247
Muddy, he was in Chicago,
he was like a god to me.

319
00:23:43,291 --> 00:23:45,467
I couldn't even imagine
to know someone one day

320
00:23:45,511 --> 00:23:47,904
as big and brilliant as him.

321
00:23:47,948 --> 00:23:49,253
I was walking down the street,

322
00:23:49,297 --> 00:23:50,907
and two blocks away I heard

323
00:23:50,951 --> 00:23:52,431
the sound of the harmonica coming out of the club.

324
00:23:52,474 --> 00:23:55,085
I heard this harp
and I could hear Muddy's slide.

325
00:23:55,129 --> 00:23:57,436
I was shaking,
I was like a dog in heat,

326
00:23:57,479 --> 00:24:00,482
I didn't know what to do,

327
00:24:00,526 --> 00:24:03,398
When I approached this club,
I was shaking all over.

328
00:24:03,442 --> 00:24:05,182
I stood in front,

329
00:24:05,226 --> 00:24:06,880
me and Roy Ruby,

330
00:24:06,923 --> 00:24:08,229
one of my friends,

331
00:24:08,272 --> 00:24:10,231
we were standing in front, man,

332
00:24:10,274 --> 00:24:11,928
and we looked inside.

333
00:24:11,972 --> 00:24:15,018
We were too young to enter,
we had false papers,

334
00:24:15,062 --> 00:24:16,585
but they made fun of us.

335
00:24:16,629 --> 00:24:18,457
I stayed all
night in front of the window.

336
00:24:18,935 --> 00:24:23,113
It was incredible to see.

337
00:24:26,508 --> 00:24:28,379
Not that we were that good back then,

338
00:24:28,423 --> 00:24:30,860
but they recognized the
reverence and passion

339
00:24:30,904 --> 00:24:34,951
that we had for their
music and respect,

340
00:24:34,995 --> 00:24:37,563
what was really important,
and Wolf liked it too.

341
00:24:39,826 --> 00:24:40,914
In a cosmic way,

342
00:24:40,957 --> 00:24:42,698
these older black blues musicians

343
00:24:42,742 --> 00:24:44,874
knew who these young white people were,

344
00:24:44,918 --> 00:24:46,528
and what they had come to look for.

345
00:24:47,224 --> 00:24:49,923
They welcomed them

346
00:24:49,966 --> 00:24:51,620
with gracious hospitality,
genuine warmth and affection.

347
00:24:53,709 --> 00:24:56,233
They shared their world
freely with these visitors.

348
00:24:57,278 --> 00:24:59,628
These young people found something
that they did not find at home,

349
00:25:00,411 --> 00:25:01,674
They found love.

350
00:25:04,067 --> 00:25:06,200
It was a gathering of generations

351
00:25:06,461 --> 00:25:10,117
linked by music and transcended
by social problems.

352
00:25:10,596 --> 00:25:12,336
It was about sound, not color.

353
00:25:13,381 --> 00:25:15,209
It was a love of the blues.

354
00:25:26,307 --> 00:25:27,743
Mike Bloomfield!

355
00:25:44,630 --> 00:25:46,370
You have to know how to defend yourself.

356
00:25:46,414 --> 00:25:48,851
If you were worthless,
you had nothing to do there.

357
00:25:48,895 --> 00:25:51,462
You would just be a white guy, but an idiot.

358
00:25:51,506 --> 00:25:54,204
And the first reaction was:

359
00:25:54,248 --> 00:25:55,379
"Oh, he's white. What is he doing here?"

360
00:25:55,423 --> 00:25:56,946
I was a curiosity,

361
00:25:56,990 --> 00:25:59,427
and after a while it was:
“He plays the blues.”

362
00:25:59,470 --> 00:26:00,602
Were there other young white people

363
00:26:00,646 --> 00:26:01,690
who came there?

364
00:26:04,650 --> 00:26:05,650
There was Musselwhite,

365
00:26:05,868 --> 00:26:07,217
But he was a country boy,

366
00:26:07,261 --> 00:26:08,610
people naturally adored him,

367
00:26:08,654 --> 00:26:10,830
they loved him because he
was just country.

368
00:26:14,398 --> 00:26:16,836
Charlie Musselwhite arrived in Chicago,

369
00:26:16,879 --> 00:26:19,882
I think he was 17 or 18,
he came from Tennessee.

370
00:26:19,926 --> 00:26:21,797
They called him Memphis Charlie.

371
00:26:21,841 --> 00:26:23,669
And he lived in the basement

372
00:26:23,712 --> 00:26:25,845
from Bob Koester's record store
for a while.

373
00:26:31,677 --> 00:26:33,113
Everyone was leaving the South

374
00:26:33,156 --> 00:26:35,637
and headed north.

375
00:26:35,898 --> 00:26:37,944
I said to myself, "I have to go to Chicago

376
00:26:37,987 --> 00:26:40,207
“and get a job in a factory.”

377
00:26:41,208 --> 00:26:42,644
I quickly got to know the city.

378
00:26:43,602 --> 00:26:46,082
And I saw these posters,

379
00:26:46,126 --> 00:26:48,607
these flyers in club windows,
who said:

380
00:26:48,650 --> 00:26:50,478
Elmore James or Muddy Waters.

381
00:26:50,521 --> 00:26:52,175
I didn't know they were there.

382
00:26:52,219 --> 00:26:54,134
So I went to these clubs

383
00:26:54,177 --> 00:26:56,789
and there were people like
Howlin' Wolf and Muddy Waters.

384
00:26:56,832 --> 00:26:58,878
They were flattered that I knew them

385
00:26:58,921 --> 00:27:01,184
and that I had their records
and that I knew their titles.

386
00:27:01,228 --> 00:27:03,534
I have become a regular at Silvio's.

387
00:27:03,970 --> 00:27:06,494
One evening, a waitress I knew

388
00:27:06,537 --> 00:27:07,887
said to Muddy Waters:

389
00:27:07,930 --> 00:27:09,497
"You should hear this
boy playing the harmonica."

390
00:27:10,019 --> 00:27:12,848
Everything changed from there.

391
00:27:12,892 --> 00:27:14,981
Muddy brought me on stage,
and people started offering me gigs,

392
00:27:15,546 --> 00:27:16,809
That made me react.

393
00:27:17,766 --> 00:27:19,115
Then I focused on...

394
00:27:19,812 --> 00:27:23,511
This is my exit from the factory.

395
00:27:27,297 --> 00:27:28,690
I played a lot in one place

396
00:27:28,734 --> 00:27:31,693
called Rose and Kelley's Blue Lounge,

397
00:27:31,737 --> 00:27:35,131
which was a meeting place for harmonica players,
there were lots of harpists there,

398
00:27:36,002 --> 00:27:40,441
We played, then we passed the microphone

399
00:27:40,484 --> 00:27:41,877
and the harp to the next.

400
00:27:41,921 --> 00:27:43,749
And he played,

401
00:27:43,792 --> 00:27:45,707
did his best
and moved on to the next one.

402
00:27:45,751 --> 00:27:47,361
We were side by side,

403
00:27:47,796 --> 00:27:51,060
And finally, Shakey Horton arrived

404
00:27:51,104 --> 00:27:53,846
and took the harmonica and the microphone

405
00:27:53,889 --> 00:27:56,152
and he crushed us all.

406
00:28:12,560 --> 00:28:13,996
It's here,

407
00:28:14,040 --> 00:28:16,303
but it's not like before.

408
00:28:17,173 --> 00:28:19,915
I spent a lot of time here,

409
00:28:20,916 --> 00:28:22,309
Rose and Kelly's Blue Lounge.

410
00:28:22,962 --> 00:28:24,703
And Walter Horton lived here,

411
00:28:24,746 --> 00:28:26,574
a few streets away,
on this side of the street.

412
00:28:27,749 --> 00:28:29,011
Walter Horton and I

413
00:28:29,316 --> 00:28:31,840
We often walked on these cobblestones here.

414
00:28:32,841 --> 00:28:35,191
If I didn't find
Walter here or at home,

415
00:28:35,235 --> 00:28:37,411
he was at the store
of alcohol between here and there.

416
00:28:37,890 --> 00:28:40,762
I think he preferred
play the harmonica

417
00:28:40,806 --> 00:28:43,896
in the streets with his friends
rather than at the club.

418
00:28:50,119 --> 00:28:52,295
We were all hanging around
the University of Chicago,

419
00:28:52,339 --> 00:28:54,210
who was in this neighborhood
Hyde Park ring road,

420
00:28:54,254 --> 00:28:56,952
which is a kind of
mixed neighborhood in Chicago.

421
00:28:56,996 --> 00:28:58,737
We all hung out at college

422
00:28:58,780 --> 00:29:00,564
Because there were
funky music there

423
00:29:00,608 --> 00:29:02,218
and a folk society.

424
00:29:02,871 --> 00:29:05,439
I heard it was in Chicago
that the blues was at its peak,

425
00:29:05,482 --> 00:29:07,963
It was at this time that Muddy Waters
and Howlin' Wolf were young,

426
00:29:08,007 --> 00:29:09,399
strong and at their peak.

427
00:29:09,443 --> 00:29:12,185
and the Chicago blues was
being born, you see?

428
00:29:12,228 --> 00:29:13,882
I got an excellence scholarship

429
00:29:13,926 --> 00:29:16,885
and I could go in
any university.

430
00:29:17,668 --> 00:29:19,845
So I said, “I’m going to Chicago.”

431
00:29:20,106 --> 00:29:23,762
The University of Chicago is located
on an island called Hyde Park.

432
00:29:23,805 --> 00:29:25,764
It's in the middle of the South Side ghetto.

433
00:29:25,807 --> 00:29:28,244
It was before gangs and drugs,

434
00:29:28,288 --> 00:29:31,508
the ghetto was not as violent

435
00:29:31,552 --> 00:29:34,076
that it would become later.

436
00:29:34,120 --> 00:29:37,079
I made friends among musicians
very quickly.

437
00:29:37,558 --> 00:29:40,126
They were much more
kind as necessary.

438
00:29:54,575 --> 00:29:56,620
Otis Rush invited me to his house.

439
00:29:57,056 --> 00:29:59,362
I stopped by his house and Otis
showed some blues stuff.

440
00:29:59,406 --> 00:30:00,711
I crossed the threshold,

441
00:30:00,755 --> 00:30:01,843
and the first thing he did,
was to go into the kitchen

442
00:30:01,887 --> 00:30:03,018
and he went into the closet

443
00:30:03,062 --> 00:30:04,367
look for a bottle of whiskey

444
00:30:04,411 --> 00:30:05,499
and poured us both a drink.

445
00:30:07,588 --> 00:30:10,243
I wanted to play the blues like my heroes,
you see.

446
00:30:11,113 --> 00:30:13,246
The guy who helped me the most was...

447
00:30:13,289 --> 00:30:16,031
Little Smokey Smothers,
and he was awesome.

448
00:30:16,466 --> 00:30:19,687
I went to his house,

449
00:30:19,730 --> 00:30:21,297
he made me sit down and
showed me pieces.

450
00:30:21,341 --> 00:30:23,473
He made sure I understood,
he was very conscientious.

451
00:30:23,517 --> 00:30:25,649
If I made a face and
that I didn't understand

452
00:30:25,693 --> 00:30:29,479
what he wanted,
he took me into the kitchen.

453
00:30:29,523 --> 00:30:31,307
He always had something
good thing on the fire,

454
00:30:31,351 --> 00:30:34,310
like pork knuckle
and white beans,

455
00:30:34,354 --> 00:30:36,965
or neck bones, vegetables,
and all that, you see.

456
00:30:37,618 --> 00:30:39,489
He lifted the lid and
said: "Hmm, it smells good."

457
00:30:40,664 --> 00:30:42,536
I was sniffing, saying, “It’s okay.
Can I have some?”

458
00:30:42,884 --> 00:30:44,451
He closed the lid and said:

459
00:30:44,494 --> 00:30:45,887
"When you get this role,
you can eat it.”

460
00:30:56,071 --> 00:30:57,071
Yes !

461
00:31:01,772 --> 00:31:04,471
I met Michael Bloomfield
in a second-hand store

462
00:31:04,514 --> 00:31:05,864
where I was looking for guitars.

463
00:31:06,603 --> 00:31:08,518
I was on Clark Street,
on the North Side,

464
00:31:08,562 --> 00:31:10,564
I entered the store,
and there was a guy behind the counter

465
00:31:10,607 --> 00:31:11,913
who seemed a bit pretentious.

466
00:31:12,392 --> 00:31:14,916
And I looked up at the wall,
I saw a guitar

467
00:31:14,960 --> 00:31:17,005
I wanted to try it and I said:
“Can I try this guitar?”

468
00:31:17,049 --> 00:31:18,528
He hands it to me.

469
00:31:18,572 --> 00:31:20,617
I'm starting to fumble a little,

470
00:31:20,661 --> 00:31:23,620
"You like the blues, don't you? Give me that."

471
00:31:23,664 --> 00:31:26,188
He took it and started
to play like crazy.

472
00:31:26,841 --> 00:31:29,452
“Great, man.”

473
00:31:30,366 --> 00:31:31,846
This is how I
met Michael Bloomfield.

474
00:31:32,194 --> 00:31:35,284
When I lived behind
the record store

475
00:31:35,328 --> 00:31:39,375
in Old Town, a few blocks away,

476
00:31:39,419 --> 00:31:42,639
Mike Bloomfield lived in
the Carl Sandburg Apartments.

477
00:31:42,683 --> 00:31:44,946
So he came to the record store

478
00:31:44,990 --> 00:31:46,600
almost every day.

479
00:31:46,643 --> 00:31:48,950
We went through all these 78
towers and everything else,

480
00:31:49,255 --> 00:31:52,649
We listened to records and talked.

481
00:31:52,693 --> 00:31:54,608
When he found out I was playing a little,

482
00:31:54,651 --> 00:31:56,523
he wanted to know what I knew,
from whom I had learned.

483
00:31:56,566 --> 00:31:57,567
What were they like?

484
00:31:57,611 --> 00:31:58,960
He had a million questions.

485
00:31:59,439 --> 00:32:01,093
He had incredible energy.

486
00:32:01,136 --> 00:32:04,879
He wanted to consume everything, devour everything.

487
00:32:04,923 --> 00:32:06,707
And he had access to his mother's car,

488
00:32:06,750 --> 00:32:10,145
so we were doing stupid things in town.

489
00:32:11,059 --> 00:32:13,975
Mike Bloomfield had a
photographic memory,

490
00:32:14,019 --> 00:32:17,892
he copied any style,

491
00:32:17,936 --> 00:32:19,676
whether it's country
blues or modern blues.

492
00:32:19,720 --> 00:32:22,810
He could listen and
absorb this guy's style,

493
00:32:23,289 --> 00:32:24,899
Whether it's Muddy Waters, BB King

494
00:32:24,943 --> 00:32:28,076
or Arthur Crudup,
he could reproduce it.

495
00:32:43,700 --> 00:32:45,789
Mike Bloomfield,
I heard it for the first time

496
00:32:45,833 --> 00:32:48,227
when Grossman made me
come play in a club

497
00:32:48,270 --> 00:32:50,011
that they had opened in Chicago.

498
00:32:50,272 --> 00:32:52,971
And the name of the club was The Bear.

499
00:32:53,275 --> 00:32:55,321
I saw this guy crossing the street.

500
00:32:55,364 --> 00:32:56,757
He was carrying a bag

501
00:32:56,800 --> 00:32:58,846
and I knew there
had a guitar in it,

502
00:32:58,889 --> 00:33:00,674
I knew it.

503
00:33:00,717 --> 00:33:03,590
He entered,
introduced himself and told me who he was.

504
00:33:03,633 --> 00:33:06,636
He said he had a
group on the South Side.

505
00:33:06,680 --> 00:33:09,900
He said he had
heard my first record

506
00:33:09,944 --> 00:33:13,208
and he wanted to show me
how the blues were played.

507
00:33:13,861 --> 00:33:15,994
He played licks like Hubert Sumlin,
he played everything,

508
00:33:16,037 --> 00:33:17,169
and one after the other.

509
00:33:17,908 --> 00:33:19,780
Then he started playing
stuff from Blind Lemon,

510
00:33:19,823 --> 00:33:21,477
which I couldn't believe.

511
00:33:21,521 --> 00:33:22,870
And then he started playing Blind Blake,

512
00:33:22,913 --> 00:33:24,350
which was really hard.

513
00:33:24,741 --> 00:33:27,222
He was the best guitarist
that I have ever heard.

514
00:33:27,614 --> 00:33:29,181
I know how to play the blues,

515
00:33:29,224 --> 00:33:30,747
but I can tell you, man,

516
00:33:31,226 --> 00:33:32,358
Butterfield is something else.

517
00:33:32,401 --> 00:33:35,491
He feels it, he is totally invested.

518
00:33:35,752 --> 00:33:38,059
I met Butterfield on my first day
of my arrival in Chicago.

519
00:33:38,103 --> 00:33:39,669
I was walking around the neighborhood,

520
00:33:39,713 --> 00:33:42,411
I was going around, you see, like:
"Wow, you see,

521
00:33:42,455 --> 00:33:43,804
Chicago, here I am.

522
00:33:44,457 --> 00:33:46,720
And sitting on the steps in front

523
00:33:46,763 --> 00:33:49,897
a building, a white guy was playing the blues

524
00:33:49,940 --> 00:33:51,812
on the guitar and drinking a beer.

525
00:33:51,855 --> 00:33:53,422
"Wow, that's really cool,

526
00:33:53,466 --> 00:33:55,120
“He looks like my type of guy.”

527
00:33:55,163 --> 00:33:56,643
It was Butterfield.

528
00:33:56,686 --> 00:33:58,210
During the first six
months I knew him,

529
00:33:58,253 --> 00:34:00,299
he hardly played the harmonica,

530
00:34:00,342 --> 00:34:01,822
he was more of a guitarist,

531
00:34:02,605 --> 00:34:04,216
But he took the harmonica...

532
00:34:07,219 --> 00:34:09,090
It exploded.

533
00:34:09,134 --> 00:34:12,092
He became as good as he would ever be
in six months.

534
00:34:22,842 --> 00:34:24,714
During the first two
years we played together,

535
00:34:24,757 --> 00:34:26,760
we made music
acoustics at parties.

536
00:34:26,803 --> 00:34:29,328
This is where I
met Nick Gravenites.

537
00:34:29,371 --> 00:34:32,766
Nick Gravenites, who was a bit of a boss

538
00:34:32,809 --> 00:34:34,985
of this underground movement,
the blues movement.

539
00:34:35,812 --> 00:34:37,858
At the start of my career as a bluesman,

540
00:34:37,900 --> 00:34:40,774
I was a thug,
a low-level gangster,

541
00:34:41,643 --> 00:34:45,648
I had a gun, I drank a lot,
I took a lot of pills.

542
00:34:45,692 --> 00:34:48,476
Nick was kind of the boss,

543
00:34:48,521 --> 00:34:49,956
the leader

544
00:34:50,000 --> 00:34:53,221
of the youth clique
Chicago blues.

545
00:34:53,264 --> 00:34:55,223
I became a beatnik.

546
00:34:56,790 --> 00:35:00,663
I loved everything that
passed through cafes,

547
00:35:00,707 --> 00:35:03,101
poetry, folk music,
It was all done for me.

548
00:35:03,362 --> 00:35:05,146
And Nick was also an intellectual.

549
00:35:05,190 --> 00:35:07,105
Nick went to the University of Chicago.

550
00:35:07,148 --> 00:35:08,367
He's a very intelligent guy,

551
00:35:08,410 --> 00:35:12,458
but his reputation was
that of a tough guy.

552
00:35:12,849 --> 00:35:14,416
Nick Gravenites made it

553
00:35:14,460 --> 00:35:15,983
to enter the University of Chicago,

554
00:35:16,026 --> 00:35:18,464
but he quickly got carried away
by a beatnik reverie,

555
00:35:18,507 --> 00:35:19,856
traveling the country,

556
00:35:19,900 --> 00:35:21,815
settling for a time in San Francisco,

557
00:35:22,250 --> 00:35:24,383
Before returning to Chicago
and find

558
00:35:24,426 --> 00:35:26,515
his old friend, Paul Butterfield.

559
00:35:28,038 --> 00:35:31,520
Paul and I,
we were bluesmen from the South Side,

560
00:35:32,478 --> 00:35:33,783
And it was the time

561
00:35:33,827 --> 00:35:37,004
where we were all immersed in the blues,
deeply.

562
00:35:38,223 --> 00:35:40,007
Lots of music,

563
00:35:40,050 --> 00:35:42,183
blues, jazz and all that,

564
00:35:42,227 --> 00:35:45,839
comes from the heritage of black Americans.

565
00:35:46,100 --> 00:35:52,541
It came from black people,
but music is universal.

566
00:35:52,585 --> 00:35:54,587
If you feel the music, you play it

567
00:35:54,630 --> 00:35:56,458
and it doesn't belong to a black man,

568
00:35:56,502 --> 00:35:57,981
nor to a white man.

569
00:35:58,460 --> 00:36:00,984
He ends up playing the harmonica

570
00:36:01,028 --> 00:36:03,596
in those South Side blues magazines.

571
00:36:03,639 --> 00:36:05,163
He became part of the show,

572
00:36:05,467 --> 00:36:08,166
Especially in a place
called the Blue Flame Lounge.

573
00:36:08,644 --> 00:36:12,082
Sam Lay has these films, we see a wide shot

574
00:36:12,126 --> 00:36:15,303
from one of those clubs where Paul was at the bar,

575
00:36:15,347 --> 00:36:16,783
And all the guys are there, standing.

576
00:36:16,826 --> 00:36:20,003
And the last one is Paul who smiles.

577
00:36:21,222 --> 00:36:23,485
He was at ease, they adored him.

578
00:36:23,964 --> 00:36:25,879
They thought it was great.

579
00:36:25,922 --> 00:36:28,403
Suddenly there's a kid
white who played really well.

580
00:36:35,280 --> 00:36:37,107
And black audiences knew it.

581
00:36:38,152 --> 00:36:40,459
The origins of Paul
Butterfield Blues Band

582
00:36:40,502 --> 00:36:42,591
go back to Saturday evenings
in the residence hall

583
00:36:42,635 --> 00:36:44,289
from the University of Chicago,

584
00:36:44,593 --> 00:36:46,856
With Butterfield first on solo harp,

585
00:36:46,900 --> 00:36:49,903
but soon joined on guitar
by his friend, Elvin Bishop.

586
00:36:50,773 --> 00:36:53,646
Wolf's rhythm section, well,
she accompanied...

587
00:36:53,689 --> 00:36:55,300
Junior Wells at the Blue Flame Lounge.

588
00:36:55,909 --> 00:36:58,781
Junior sees Paul and he
presents it to the public.

589
00:36:58,825 --> 00:37:01,567
"Ladies and gentlemen, we have here

590
00:37:01,610 --> 00:37:04,700
Paul Butterfield,
who is a great harmonica player.

591
00:37:04,744 --> 00:37:06,441
Why not bring it up here

592
00:37:06,485 --> 00:37:09,052
and ask him to play a piece?"

593
00:37:10,402 --> 00:37:12,447
Okay, they applaud,
he goes on stage,

594
00:37:12,491 --> 00:37:15,450
one, two, three,
and they play something great.

595
00:37:16,277 --> 00:37:18,236
And the public loved it,

596
00:37:18,279 --> 00:37:20,977
they applauded.

597
00:37:21,021 --> 00:37:24,154
Junior Wells was so pissed
by public reaction

598
00:37:24,198 --> 00:37:25,330
that he left.

599
00:37:35,165 --> 00:37:36,689
What was great about Butterfield,

600
00:37:36,732 --> 00:37:39,996
is that he was so strong and so dynamic,

601
00:37:40,910 --> 00:37:44,610
But he didn't play like the others.

602
00:37:45,001 --> 00:37:47,177
Butterfield was himself from the start.

603
00:37:47,917 --> 00:37:50,616
Everything Paul does, he took

604
00:37:50,659 --> 00:37:52,313
groups and records
from the Chicago area

605
00:37:52,357 --> 00:37:54,446
Muddy Waters, Howlin' Wolf,

606
00:37:54,489 --> 00:37:57,187
Little Walter, Sonny Boy Williamson

607
00:37:57,231 --> 00:37:59,059
and Otis Rush.

608
00:37:59,102 --> 00:38:01,496
And Paul took them again and reworked them

609
00:38:01,540 --> 00:38:03,455
with his own style, you see,

610
00:38:03,498 --> 00:38:06,588
And it's Butterfield, pure Butterfield.

611
00:38:08,677 --> 00:38:09,809
What happened next

612
00:38:10,157 --> 00:38:11,985
could not be predicted.

613
00:38:12,333 --> 00:38:15,684
The blues crossed the
city to the North Side,

614
00:38:16,163 --> 00:38:17,730
the Old Town district

615
00:38:17,773 --> 00:38:19,297
around the famous improvisation theater,
Second City,

616
00:38:19,732 --> 00:38:21,690
was dotted with small clubs and bars

617
00:38:21,734 --> 00:38:23,039
which attracted student customers.

618
00:38:23,779 --> 00:38:25,607
Even if it was just
the other side of town,

619
00:38:25,999 --> 00:38:27,957
it was light years away
from the South Side.

620
00:38:28,828 --> 00:38:30,743
Big John's was a
Wells Street club,

621
00:38:30,786 --> 00:38:32,266
created by Mike Bloomfield

622
00:38:32,310 --> 00:38:33,572
and Charlie Musselwhite.

623
00:38:34,007 --> 00:38:36,183
The Bloomfield group,
the group I was in,

624
00:38:36,226 --> 00:38:37,619
when we left Big John's,

625
00:38:37,663 --> 00:38:39,534
Butterfield took our place.

626
00:38:40,405 --> 00:38:41,536
When we proposed to Butterfield

627
00:38:41,580 --> 00:38:43,016
a position at the club,

628
00:38:43,059 --> 00:38:44,800
he borrowed the section
rhythm of Howlin' Wolf,

629
00:38:45,148 --> 00:38:48,369
Jerome Arnold on bass
and Sam Lay on drums,

630
00:38:48,761 --> 00:38:51,720
and created the Paul Butterfield Blues Band.

631
00:38:56,377 --> 00:38:58,248
Big John's was great.

632
00:38:58,292 --> 00:38:59,772
It was always full.

633
00:39:00,033 --> 00:39:01,513
It was open seven days a week.

634
00:39:01,556 --> 00:39:03,819
It was Butterfield's lair,

635
00:39:03,863 --> 00:39:06,431
and they were at the heart of this scene.

636
00:39:09,216 --> 00:39:10,913
Almost immediately,

637
00:39:10,957 --> 00:39:12,262
the place was crowded with
young white students.

638
00:39:13,438 --> 00:39:16,049
It was in 1964,

639
00:39:16,092 --> 00:39:17,485
the year the Beatles
exploded in America.

640
00:39:18,051 --> 00:39:19,487
And the blues suddenly came alive

641
00:39:19,531 --> 00:39:20,880
among students.

642
00:39:31,456 --> 00:39:34,023
"You should bring
other blues groups."

643
00:39:34,067 --> 00:39:37,026
Bring in Muddy Waters,
Little Walter, Otis Rush.

644
00:39:37,070 --> 00:39:38,463
So,
they started programming blues

645
00:39:38,506 --> 00:39:40,334
in this little bar on the North Side.

646
00:39:41,074 --> 00:39:42,989
There had never been
blues on the North Side.

647
00:39:43,032 --> 00:39:45,165
And the other small bars on the North Side

648
00:39:45,208 --> 00:39:47,341
saw that Big John's was successful,

649
00:39:47,385 --> 00:39:48,864
Big John's was a hit, so...

650
00:39:49,125 --> 00:39:50,692
They also wanted to play blues.

651
00:39:57,046 --> 00:39:58,744
Big John's started bringing in

652
00:39:58,787 --> 00:40:00,441
the other bluesmen.

653
00:40:00,485 --> 00:40:02,574
Muddy Waters didn't think
not live long enough

654
00:40:02,617 --> 00:40:03,617
to work on the North Side.

655
00:40:07,448 --> 00:40:10,408
We were all in Chicago at the same time.

656
00:40:11,147 --> 00:40:14,716
This period between 1964 and 1966.

657
00:40:15,238 --> 00:40:18,807
Musselwhite, Mike Bloomfield,
Paul Butterfield,

658
00:40:19,155 --> 00:40:23,159
Corky Siegel, James Schwall,
Barry Goldberg, Steve Miller.

659
00:40:23,986 --> 00:40:26,511
Young white people, all the same age,

660
00:40:27,207 --> 00:40:29,035
blues crazy.

661
00:40:29,078 --> 00:40:31,559
I remember Steve Miller,
he used to come to Big John's.

662
00:40:31,603 --> 00:40:32,734
I think he played there.

663
00:40:32,995 --> 00:40:35,824
There were fights at Big John's

664
00:40:35,868 --> 00:40:37,826
and at the Blue Flame and Pepper's.

665
00:40:37,870 --> 00:40:39,045
Everywhere we went,

666
00:40:39,088 --> 00:40:40,873
there was always trouble,

667
00:40:40,916 --> 00:40:43,876
and someone was getting
beat up with a billiard table,

668
00:40:43,919 --> 00:40:46,095
or something else, often,

669
00:40:46,139 --> 00:40:47,836
we had to leave the stage

670
00:40:47,880 --> 00:40:50,099
and wait for it to calm down,
then come back and play.

671
00:40:50,404 --> 00:40:52,972
At one point,
he formed a band with Barry.

672
00:40:53,015 --> 00:40:54,713
His name was The Miller
Goldberg Blues Band.

673
00:40:55,061 --> 00:40:57,280
I met Steve while listening to him play

674
00:40:57,324 --> 00:40:59,021
in a place two blocks from here.

675
00:40:59,674 --> 00:41:01,459
And I was passing by one day

676
00:41:01,502 --> 00:41:04,462
and I heard an incredible guitar

677
00:41:04,505 --> 00:41:05,593
exit the storefront.

678
00:41:06,289 --> 00:41:09,118
And I said, "That's exactly
like T-Bone Walker."

679
00:41:09,162 --> 00:41:11,251
So I said, “Steve,
I heard that..."

680
00:41:11,294 --> 00:41:13,775
The Butterfield Band left Big John's

681
00:41:13,819 --> 00:41:16,517
to go to New York,
and they needed a group here,

682
00:41:16,561 --> 00:41:18,084
why don't we form a group?

683
00:41:18,127 --> 00:41:19,041
“I play the keyboard.”

684
00:41:19,041 --> 00:41:20,042
And he said, “Great!”

685
00:41:20,086 --> 00:41:21,522
We got the job,

686
00:41:21,566 --> 00:41:23,524
and we played there for about a year.

687
00:41:23,568 --> 00:41:26,092
For me, as soon as I met Barry

688
00:41:26,135 --> 00:41:27,528
and we played together,

689
00:41:27,572 --> 00:41:29,008
I had found a brother at heart,

690
00:41:29,051 --> 00:41:32,533
because Barry was great on the keyboard.

691
00:41:32,577 --> 00:41:34,666
It was a special case.

692
00:41:34,709 --> 00:41:36,668
And he and I,
we hit it off straight away.

693
00:41:36,711 --> 00:41:37,711
Right away.

694
00:41:38,974 --> 00:41:41,977
Barry Goldberg was more like
to get along with everyone,

695
00:41:42,282 --> 00:41:43,544
The rabbi type.

696
00:41:43,588 --> 00:41:45,851
But in this aspect of rabbi,

697
00:41:45,894 --> 00:41:47,026
he was very fierce.

698
00:41:47,069 --> 00:41:48,549
A fierce bluesman.

699
00:41:48,593 --> 00:41:50,725
Write songs with
Barry was phenomenal.

700
00:41:50,769 --> 00:41:52,379
I sat down and said:

701
00:41:52,422 --> 00:41:54,076
"Barry, I have a little thing,
What do you think?”

702
00:41:54,120 --> 00:41:55,425
And he said, “What if we did that?”

703
00:41:55,469 --> 00:41:56,818
And then: “And this?” And we said to ourselves:

704
00:41:56,862 --> 00:41:57,862
"Okay, this one is over,
We’re doing another one.”

705
00:42:32,462 --> 00:42:34,160
You know,
everyone talks about it as if

706
00:42:34,203 --> 00:42:35,378
we were these little white boys.

707
00:42:35,422 --> 00:42:37,555
We were competing with Howlin' Wolf

708
00:42:37,598 --> 00:42:39,426
to play for his club.

709
00:42:39,861 --> 00:42:41,733
There were about five or six clubs,

710
00:42:41,776 --> 00:42:43,169
there were about five or six groups.

711
00:42:43,212 --> 00:42:45,737
And as soon as they were no longer in this club,

712
00:42:45,780 --> 00:42:47,216
we were there.

713
00:42:47,260 --> 00:42:49,567
It felt like a job.

714
00:42:49,610 --> 00:42:52,178
We didn't have any privileges
for anything.

715
00:42:55,050 --> 00:42:56,574
when the water rises,
all boats go up with it.

716
00:42:56,617 --> 00:42:58,967
We did things
for and with others

717
00:42:59,011 --> 00:43:02,362
and we were all part of the scene,

718
00:43:02,405 --> 00:43:05,974
And everything one of us did
was useful to the other too.

719
00:43:08,847 --> 00:43:10,544
Guitarist Harvey Mandel

720
00:43:10,588 --> 00:43:12,807
was a teenager from Detroit
when he discovered

721
00:43:12,851 --> 00:43:13,939
the blues clubs of the South Side.

722
00:43:14,200 --> 00:43:16,681
Sammy Fender took me to Twist City,

723
00:43:16,724 --> 00:43:19,901
where I was able to meet everyone
famous bluesmen,

724
00:43:19,945 --> 00:43:23,557
BB King, Howlin' Wolf and Muddy Waters.

725
00:43:24,210 --> 00:43:26,821
The greatest influence
of all was Buddy Guy,

726
00:43:26,865 --> 00:43:29,868
Because he played there every week.

727
00:43:30,346 --> 00:43:33,088
Be influenced by him
transformed my game

728
00:43:33,132 --> 00:43:34,829
because I was a beginner

729
00:43:34,873 --> 00:43:37,049
playing Venture music and suddenly,

730
00:43:37,092 --> 00:43:39,573
I discovered the real blues,
and it was like

731
00:43:39,617 --> 00:43:42,141
see it up close,
it was like going to college

732
00:43:42,184 --> 00:43:43,272
to learn guitar.

733
00:44:01,421 --> 00:44:03,728
Harvey had his own identity.

734
00:44:04,424 --> 00:44:06,034
He wanted to play in these clubs,

735
00:44:06,078 --> 00:44:09,211
in the hardest places,

736
00:44:09,255 --> 00:44:10,517
and hold on.

737
00:44:10,560 --> 00:44:13,172
Harvey was cool and playing

738
00:44:13,215 --> 00:44:15,522
amazing guitar, you know?

739
00:44:15,914 --> 00:44:18,481
He had total control and
he was cool all the time.

740
00:44:20,658 --> 00:44:22,921
In any club,

741
00:44:22,964 --> 00:44:25,053
if you know how to play, you have already won.

742
00:44:25,837 --> 00:44:29,101
Harvey was one of
first white guitarists

743
00:44:29,144 --> 00:44:30,842
to frequent black clubs.

744
00:44:30,885 --> 00:44:32,321
Great guitar player, man.

745
00:44:32,670 --> 00:44:34,628
We had parties on
Sunday and Monday,

746
00:44:34,672 --> 00:44:36,848
what we called the
Battle of the Guitars.

747
00:44:36,891 --> 00:44:38,545
You had to play to be accepted.

748
00:44:55,344 --> 00:44:57,738
Buddy Guy came often

749
00:44:57,782 --> 00:44:59,958
with his guitar and his 30 meter cable,

750
00:45:00,436 --> 00:45:02,743
and he was literally going
in the middle of the street

751
00:45:02,787 --> 00:45:05,659
and stopped traffic everywhere,

752
00:45:05,703 --> 00:45:06,921
and played guitar and everything.

753
00:45:06,965 --> 00:45:08,706
I saw guys get stabbed here,

754
00:45:09,184 --> 00:45:13,145
Huge, incredible fights,
but I came to park my car,

755
00:45:13,885 --> 00:45:16,235
I was carrying a big amp, my guitar,

756
00:45:16,278 --> 00:45:17,802
and everything else,
but no one bothered me.

757
00:45:17,845 --> 00:45:19,325
What was interesting in Chicago,

758
00:45:19,368 --> 00:45:20,761
What was really interesting

759
00:45:20,805 --> 00:45:22,981
is that each group
was a little different.

760
00:45:29,944 --> 00:45:31,250
The Siegel-Schwall Band was

761
00:45:31,293 --> 00:45:32,773
another group of young white musicians

762
00:45:32,817 --> 00:45:34,949
who emerged on the Chicago scene

763
00:45:34,993 --> 00:45:37,778
and who played regularly
in the South Side,

764
00:45:37,822 --> 00:45:39,824
at Pepper's Lounge,
between the groups of the old guard.

765
00:45:40,215 --> 00:45:41,782
We did not consider ourselves
like a blues band,

766
00:45:41,826 --> 00:45:44,611
but we were very
influenced by the blues.

767
00:45:44,654 --> 00:45:47,353
We also had other influences
who changed music,

768
00:45:47,396 --> 00:45:50,530
so it didn't look exactly like
to what we heard elsewhere.

769
00:45:50,573 --> 00:45:53,576
We were hired by Johnny Pepper
at Pepper's Soul Lounge,

770
00:45:53,620 --> 00:45:55,927
and I thought it was a bar

771
00:45:55,970 --> 00:45:58,016
on the South Side of Chicago,
I didn't know anything about it.

772
00:45:58,059 --> 00:45:59,800
And then a guy came on stage

773
00:45:59,844 --> 00:46:01,802
the first evening and said:
“I would like to play with you.”

774
00:46:01,846 --> 00:46:04,500
He was a little drunk,
so I didn't think,

775
00:46:04,544 --> 00:46:05,937
I wanted him to play
with us and I said:

776
00:46:05,980 --> 00:46:08,069
“No, maybe later”
or something like that,

777
00:46:08,113 --> 00:46:09,941
and one of the spectators said:

778
00:46:09,984 --> 00:46:12,160
"No, no, no, come on! Let him play,
It’s Little Walter.”

779
00:46:14,684 --> 00:46:17,600
And so,
Otis Spann came to play with us

780
00:46:17,644 --> 00:46:20,690
and Willie Dixon and
Howlin' Wolf have arrived,

781
00:46:20,734 --> 00:46:22,823
and Muddy Waters, you know,
and Hound Dog Taylor.

782
00:46:23,258 --> 00:46:24,258
So what happens is

783
00:46:24,259 --> 00:46:25,783
that we play in this club

784
00:46:25,826 --> 00:46:27,045
which is somewhat the center
of the blues scene.

785
00:46:27,567 --> 00:46:29,308
Howlin' Wolf asked us
to go on tour with him,

786
00:46:29,351 --> 00:46:32,050
so we left
toured with him and we played

787
00:46:32,093 --> 00:46:34,182
at Café Go-Go together.

788
00:46:34,226 --> 00:46:36,141
He came to knock on my
wear every morning

789
00:46:36,576 --> 00:46:38,360
and said: “Come on, let’s go for a walk.”

790
00:46:38,404 --> 00:46:39,927
And I followed him every morning

791
00:46:39,971 --> 00:46:42,756
in the Village for two hours,

792
00:46:42,800 --> 00:46:44,889
the Wolf and I, and it was incredible.

793
00:46:46,804 --> 00:46:48,022
Let's listen to this title

794
00:46:48,066 --> 00:46:48,980
soaring up the charts,

795
00:46:48,980 --> 00:46:50,851
Little Red Rooster!

796
00:46:57,292 --> 00:46:58,946
On the other side of the Atlantic,

797
00:46:58,990 --> 00:47:01,079
an unexpected event occurred.

798
00:47:01,383 --> 00:47:03,516
The old Howlin' Wolf song,
Little Red Rooster,

799
00:47:03,559 --> 00:47:05,387
is number one in the British charts,

800
00:47:05,823 --> 00:47:07,868
thanks to a young British group

801
00:47:07,912 --> 00:47:09,217
called the Rolling Stones.

802
00:47:20,881 --> 00:47:22,796
Chicago blues has always been

803
00:47:22,840 --> 00:47:23,884
the basis of the Stones' music.

804
00:47:24,624 --> 00:47:26,495
Mick Jagger and Keith
Richards met

805
00:47:26,539 --> 00:47:28,193
when Richard saw Jagger

806
00:47:28,236 --> 00:47:31,892
ride on a London Underground
with Chess discs.

807
00:47:33,285 --> 00:47:35,504
And I must say, we had to have

808
00:47:35,548 --> 00:47:37,855
balls of steel
that day when we decided

809
00:47:37,898 --> 00:47:39,334
to release this as a single, right?

810
00:47:39,378 --> 00:47:41,815
We knew it was a bold move.

811
00:47:41,859 --> 00:47:44,600
"Let's see if we can reverse the trend

812
00:47:44,644 --> 00:47:47,821
and play 'Little Red Rooster'

813
00:47:47,865 --> 00:47:49,736
to young white Americans",
but it worked.

814
00:47:57,875 --> 00:47:59,877
I found it a
privilege of being the relay.

815
00:47:59,920 --> 00:48:03,358
It was our duty
to reciprocate.

816
00:48:09,712 --> 00:48:12,106
Inspired almost exclusively
by precious records

817
00:48:12,150 --> 00:48:13,978
from exotic Chicago, Illinois,

818
00:48:14,674 --> 00:48:15,936
The Stones have come to town

819
00:48:15,980 --> 00:48:18,634
during their first tour in 1965.

820
00:48:18,678 --> 00:48:20,767
Around the same time,

821
00:48:20,810 --> 00:48:22,943
the Paul Butterfield Blues
Band filled Big John's.

822
00:48:22,987 --> 00:48:24,205
But they headed straight

823
00:48:24,249 --> 00:48:26,425
to the studio
recording Chess Records,

824
00:48:26,468 --> 00:48:28,035
where their heroes recorded
all their records.

825
00:48:28,906 --> 00:48:30,777
This is the story of the Rolling Stones,

826
00:48:30,820 --> 00:48:33,301
my uncle called me on
the intercom and said to me:

827
00:48:33,345 --> 00:48:35,956
"Marshall, there's a call, white people

828
00:48:36,000 --> 00:48:37,915
with a weird accent,

829
00:48:37,958 --> 00:48:40,613
they talk about recording at the studio,
take it and see what they want.”

830
00:48:40,656 --> 00:48:43,094
And it was Andrew Oldham,
the manager of the Stones.

831
00:48:43,355 --> 00:48:44,878
He introduced himself to me,

832
00:48:44,922 --> 00:48:46,184
and I knew who they were
the Rolling Stones.

833
00:48:46,227 --> 00:48:48,186
So I organized this with Andrew Oldham,

834
00:48:48,229 --> 00:48:50,623
the Stones have arrived
and we had never seen

835
00:48:50,666 --> 00:48:53,017
hair like that,
especially at Brian Jones.

836
00:48:53,060 --> 00:48:54,583
It was shocking!

837
00:48:54,627 --> 00:48:56,063
My brother looked at me and I looked at him.

838
00:48:56,107 --> 00:48:57,978
and I said to him, “Who are these guys?”
- It's true.

839
00:48:58,022 --> 00:48:59,371
Who are these weirdos?

840
00:48:59,414 --> 00:49:00,414
They looked like monsters!

841
00:49:00,894 --> 00:49:02,374
It was in 1964,

842
00:49:02,417 --> 00:49:04,637
when I arrived in America,

843
00:49:05,203 --> 00:49:07,118
and I had the chance to chat

844
00:49:07,161 --> 00:49:09,642
with Muddy Waters and Howlin' Wolf,

845
00:49:09,685 --> 00:49:12,427
And they all wanted
share their ideas.

846
00:49:12,471 --> 00:49:14,908
They wanted to know how we did it,

847
00:49:14,952 --> 00:49:16,475
and why we did it.

848
00:49:16,736 --> 00:49:18,825
We quickly became friends.

849
00:49:26,702 --> 00:49:28,356
In fact, when the Rolling Stones

850
00:49:28,400 --> 00:49:30,184
were invited to perform in a program
dance for teenagers,

851
00:49:30,228 --> 00:49:33,361
Shindig, a dance show for teenagers,
the Stones did not accept

852
00:49:33,405 --> 00:49:35,581
if the producers hired
also Howlin' Wolf.

853
00:49:35,624 --> 00:49:38,279
This would be the only appearance
on national television

854
00:49:38,627 --> 00:49:39,627
that he will ever do.

855
00:49:56,341 --> 00:49:57,472
But the Stones weren't

856
00:49:57,516 --> 00:49:58,691
the only young British musicians

857
00:49:58,734 --> 00:50:00,127
inspired by the blues.

858
00:50:00,649 --> 00:50:02,956
The music was well received
since Big Bill Broonzy

859
00:50:03,000 --> 00:50:05,567
brought the blues to Europe
in the mid-1950s.

860
00:50:21,757 --> 00:50:23,977
These young people, from great
part of the working class,

861
00:50:24,021 --> 00:50:27,154
British youth identified
to alienation and anger

862
00:50:27,198 --> 00:50:29,330
that she heard on the records
black Americans.

863
00:50:34,553 --> 00:50:36,294
Eric Burdon, from Animals,

864
00:50:36,337 --> 00:50:37,991
remembers seeing Muddy Waters

865
00:50:38,035 --> 00:50:40,559
during the American Folk Blues tour
in Newcastle, his hometown.

866
00:50:42,082 --> 00:50:45,477
The first time I
really realized

867
00:50:45,520 --> 00:50:48,697
Chicago blues
as a powerful entity,

868
00:50:49,481 --> 00:50:51,918
it was Muddy Waters
Newcastle City Hall.

869
00:50:51,961 --> 00:50:54,616
Coming home from evening classes,

870
00:50:54,660 --> 00:50:56,009
my bag on my back,

871
00:50:56,749 --> 00:50:59,969
The doors were open,
it was hot.

872
00:51:00,535 --> 00:51:03,582
and I was two blocks away,
and I heard his voice,

873
00:51:03,930 --> 00:51:05,714
And I thought: "It's
where I want to be."

874
00:51:22,122 --> 00:51:25,212
In Chicago, the Paul Butterfield Blues Band

875
00:51:25,256 --> 00:51:27,736
was about to make his entrance
on the national scene.

876
00:51:28,998 --> 00:51:31,436
It's the producer Paul Rothchild

877
00:51:31,479 --> 00:51:33,481
who suggested

878
00:51:33,525 --> 00:51:35,701
to add Mike Bloomfield on lead guitar
to the Paul Butterfield Blues Band,

879
00:51:35,744 --> 00:51:37,703
Then he signed with the group
at Elektra Records,

880
00:51:37,746 --> 00:51:40,793
a trendy label from New York
specializing in folk music.

881
00:51:42,577 --> 00:51:45,232
He also brought in another graduate
from the University of Chicago,

882
00:51:45,276 --> 00:51:46,581
Mark Naftalin on keyboards.

883
00:51:48,279 --> 00:51:50,019
The new Paul Butterfield Blues Band

884
00:51:50,063 --> 00:51:51,456
entered the studio to record

885
00:51:51,499 --> 00:51:54,154
his first album in December 1964.

886
00:51:54,981 --> 00:51:56,330
This album, still today,

887
00:51:56,374 --> 00:51:57,766
should not be ignored,

888
00:51:57,810 --> 00:51:59,768
because he made a great contribution

889
00:52:00,334 --> 00:52:03,294
to bring the blues back
the mainstream.

890
00:52:03,337 --> 00:52:05,034
After a while,
Satisfaction and Gloria

891
00:52:05,078 --> 00:52:07,124
seemed a bit cheesy to us.

892
00:52:07,646 --> 00:52:09,996
It was the new anthem,
the new song,

893
00:52:10,039 --> 00:52:11,128
Born in Chicago.

894
00:52:11,650 --> 00:52:12,955
People were...

895
00:52:12,999 --> 00:52:15,480
That's it.

896
00:52:21,573 --> 00:52:22,878
Growing interest in the group

897
00:52:22,922 --> 00:52:24,880
led to an invitation
to play at the prestigious

898
00:52:24,924 --> 00:52:28,580
The Newport festival in July 1965.

899
00:52:30,930 --> 00:52:33,324
In the footsteps of Muddy, Wolf

900
00:52:33,367 --> 00:52:35,978
and other Chicago blues artists
who played at the festival,

901
00:52:36,501 --> 00:52:38,155
The Butterfield Band

902
00:52:38,198 --> 00:52:39,939
committed himself without knowing it
on the path of destiny.

903
00:52:39,982 --> 00:52:42,637
One, two, one, two, three.

904
00:54:21,083 --> 00:54:22,302
Oh !

905
00:54:27,133 --> 00:54:28,700
That same summer, in Newport,

906
00:54:29,178 --> 00:54:31,268
was also the number one attraction
folk music, Bob Dylan,

907
00:54:32,007 --> 00:54:34,053
who was about to
to make a turning point

908
00:54:34,096 --> 00:54:36,925
in his career, passing songs from
protest to something greater.

909
00:54:37,448 --> 00:54:38,797
Hey !

910
00:54:38,840 --> 00:54:39,840
All right.

911
00:54:42,583 --> 00:54:43,976
He had already hired Mike Bloomfield

912
00:54:44,019 --> 00:54:46,631
to play on sessions in 1965

913
00:54:46,674 --> 00:54:49,242
who produced the classic
Like a Rolling Stone.

914
00:54:51,157 --> 00:54:53,377
When it was necessary

915
00:54:53,420 --> 00:54:56,293
find a guitarist for my record,

916
00:54:56,336 --> 00:54:57,337
I only thought of him.

917
00:54:59,165 --> 00:55:00,906
The following month, in Newport,

918
00:55:01,472 --> 00:55:03,300
Members of the Butterfield Band and Dylan

919
00:55:03,343 --> 00:55:06,303
were going to come together to
one of the performances

920
00:55:06,346 --> 00:55:07,739
the most significant in the history of rock.

921
00:55:08,130 --> 00:55:11,351
It is essential that
you adjust the levels

922
00:55:11,395 --> 00:55:13,745
of your instruments and your amps

923
00:55:13,788 --> 00:55:15,355
and integrate that into your head.

924
00:55:15,399 --> 00:55:17,096
Of course Bloomfield was playing there

925
00:55:17,357 --> 00:55:18,793
with the Butterfield Band.

926
00:55:19,838 --> 00:55:22,754
Then they decided
that the Butterfield Band

927
00:55:22,797 --> 00:55:25,322
would accompany Dylan,
and Michael brought

928
00:55:25,365 --> 00:55:27,106
Barry Goldberg to play too.

929
00:55:27,149 --> 00:55:29,195
"He's my friend,

930
00:55:29,238 --> 00:55:31,632
“he plays the keyboard, he’s really good.”

931
00:55:31,937 --> 00:55:33,808
And Bob said, “Do you want to play with me?”

932
00:55:34,505 --> 00:55:35,984
And I said, “Yes!”

933
00:55:36,985 --> 00:55:38,944
That's how I found myself,

934
00:55:38,987 --> 00:55:41,512
to play in the first electric group
by Bob Dylan.

935
00:56:13,282 --> 00:56:15,763
We heard Michael,

936
00:56:15,807 --> 00:56:17,809
he almost seemed to attack
people with his guitar,

937
00:56:17,852 --> 00:56:20,768
saying, "Here, take this, take this,"
with its riffs,

938
00:56:20,812 --> 00:56:22,117
and choked Bob a little.

939
00:56:29,342 --> 00:56:31,736
People were shocked,
you know, the folk audience.

940
00:56:31,779 --> 00:56:34,782
They felt betrayed and disappointed.

941
00:56:34,826 --> 00:56:37,263
But Bob had created something
something really different.

942
00:56:37,655 --> 00:56:39,308
From my memories of the concert,

943
00:56:39,352 --> 00:56:42,834
many people understood and liked it.

944
00:56:42,877 --> 00:56:45,445
It was a truly inspired performance,

945
00:56:45,489 --> 00:56:47,969
intense, and...

946
00:56:48,013 --> 00:56:49,971
But most people booed.

947
00:56:50,276 --> 00:56:52,757
They played three electric pieces

948
00:56:52,800 --> 00:56:56,021
and then they sang "
It's All Over Now Baby Blue.

949
00:56:56,064 --> 00:56:57,588
This is what they should have remembered,

950
00:56:57,631 --> 00:57:00,591
not these stupid boos.

951
00:57:00,634 --> 00:57:01,983
I was at the festival,

952
00:57:02,027 --> 00:57:03,637
I knew that others
played electric,

953
00:57:03,681 --> 00:57:05,944
The Chambers Brothers played electric,

954
00:57:05,987 --> 00:57:07,946
Butterfield played electric,

955
00:57:07,989 --> 00:57:09,338
so, it's not rocket science.

956
00:57:10,165 --> 00:57:13,647
I didn't see it,
because I was a bluesman.

957
00:57:13,691 --> 00:57:16,737
I was on the other side
from the exhibition center

958
00:57:16,781 --> 00:57:19,479
with Mance Lipscomb and
Mississippi John Herd

959
00:57:19,523 --> 00:57:20,785
to share half a pitcher of whiskey.

960
00:57:22,221 --> 00:57:23,440
Meanwhile, in Chicago,

961
00:57:23,962 --> 00:57:25,703
Other labels of
folk music took note

962
00:57:26,051 --> 00:57:28,140
and started looking
their own blues band,

963
00:57:28,488 --> 00:57:30,534
Thinking maybe it was
the start of a new trend.

964
00:57:33,537 --> 00:57:35,756
They found Charlie Musselwhite.

965
00:57:35,800 --> 00:57:39,325
Sam Charters, he produced for Vanguard.

966
00:57:39,368 --> 00:57:42,197
Sam said: "Elektra has Butterfield,

967
00:57:42,241 --> 00:57:43,938
“we’re taking Charlie Musselwhite.”

968
00:57:44,286 --> 00:57:46,027
When Sam Charters wanted
that I make this album,

969
00:57:46,071 --> 00:57:49,422
I called Harvey and Barry,

970
00:57:49,466 --> 00:57:51,206
Fred Below and Little Bob on bass.

971
00:57:51,250 --> 00:57:53,078
Stand Back, my first album,

972
00:57:53,121 --> 00:57:54,993
if I remember correctly,

973
00:57:55,036 --> 00:57:56,516
we recorded everything
the album in three hours.

974
00:57:56,560 --> 00:57:58,605
There are still people
who bring this album

975
00:57:58,649 --> 00:58:00,738
for me to sign.

976
00:58:01,129 --> 00:58:05,525
Many veterans of
Vietnam had this album

977
00:58:05,569 --> 00:58:08,093
in Vietnam

978
00:58:08,136 --> 00:58:09,355
and they told me how much music
had mattered to them.

979
00:58:09,398 --> 00:58:10,661
It's the pinnacle.

980
00:58:11,400 --> 00:58:14,621
But this record started me on the road
and gave me a career,

981
00:58:15,535 --> 00:58:16,841
And I've been touring ever since.

982
00:58:16,884 --> 00:58:18,146
We call him Memphis Charlie,

983
00:58:18,451 --> 00:58:21,280
He is Chicago's adopted son,
Charlie Musselwhite!

984
00:58:54,182 --> 00:58:56,054
We started playing in universities

985
00:58:56,097 --> 00:58:58,143
and to travel, to get out of the city

986
00:58:58,186 --> 00:59:00,798
and we played concerts on
the East Coast and the West Coast.

987
00:59:02,060 --> 00:59:05,150
In March 1966, the Butterfield Band

988
00:59:05,193 --> 00:59:07,108
exploded onto the scene
psychedelic rock

989
00:59:07,152 --> 00:59:08,936
who had just been born in San Francisco.

990
00:59:09,415 --> 00:59:11,548
We played in a club called

991
00:59:11,591 --> 00:59:13,593
The Trip to Los Angeles.

992
00:59:13,637 --> 00:59:16,291
Grossman, our manager,
said there was

993
00:59:16,335 --> 00:59:17,902
a trendy place to play, the Fillmore.

994
00:59:17,945 --> 00:59:20,469
And at that time, Chet Helms,
who owned The Avalon,

995
00:59:20,513 --> 00:59:22,210
was associated with Bill,

996
00:59:22,254 --> 00:59:24,038
“OK, we’re going to have this Butterfield Band.”

997
00:59:24,082 --> 00:59:25,779
Part of the magic of this weekend

998
00:59:25,823 --> 00:59:27,651
came from the success of the first evening,

999
00:59:27,694 --> 00:59:28,956
And the success of this first evening

1000
00:59:29,000 --> 00:59:30,828
brought people
the next two evenings.

1001
00:59:31,393 --> 00:59:33,091
The impact of the Butterfield Blues Band,

1002
00:59:33,134 --> 00:59:35,136
when they first came here,
was incredible.

1003
00:59:35,180 --> 00:59:38,009
A catchy groove,
It made me want to move.

1004
00:59:38,052 --> 00:59:39,576
They turned everything upside down in the city.

1005
00:59:40,141 --> 00:59:41,665
Michael Bloomfield, him and Elvin Bishop

1006
00:59:41,708 --> 00:59:43,144
played so well together.

1007
00:59:43,188 --> 00:59:45,364
See this kind of
virtuosity and power,

1008
00:59:45,407 --> 00:59:46,931
it was a real revelation for me.

1009
00:59:47,235 --> 00:59:50,108
Very structured, precise,
all the musicians played well,

1010
00:59:50,151 --> 00:59:51,370
there was no bullshit.

1011
00:59:53,154 --> 00:59:55,896
I remember talking to Paul and Mike,

1012
00:59:55,940 --> 00:59:57,332
on their return from California,

1013
00:59:57,376 --> 00:59:58,986
They were talking about how great it was,

1014
00:59:59,030 --> 01:00:00,335
and there were plenty
places to play,

1015
01:00:00,379 --> 01:00:02,381
And they were talking about
quality of musicians

1016
01:00:02,424 --> 01:00:04,209
in California, which wasn't very good.

1017
01:00:05,471 --> 01:00:07,647
But there was a social thing,

1018
01:00:07,691 --> 01:00:09,910
and the acid thing,

1019
01:00:09,954 --> 01:00:13,435
so it was a big one
revolution that was happening.

1020
01:00:14,045 --> 01:00:16,787
California was great,
man, I loved it,

1021
01:00:16,830 --> 01:00:18,310
as soon as I got off the plane,

1022
01:00:18,919 --> 01:00:20,399
I knew it was made for me.

1023
01:00:20,442 --> 01:00:22,793
Such freedom and open-mindedness.

1024
01:00:23,184 --> 01:00:24,533
There was room for everyone.

1025
01:00:24,882 --> 01:00:26,623
There was room
for all styles

1026
01:00:26,666 --> 01:00:28,712
and they paid well.

1027
01:00:29,190 --> 01:00:30,583
I remembered

1028
01:00:30,627 --> 01:00:33,455
having seen the Paul Butterfield Blues Band,

1029
01:00:33,499 --> 01:00:35,762
Butter was a great
harmonica player,

1030
01:00:35,806 --> 01:00:36,981
and Elvin was awesome.

1031
01:00:37,634 --> 01:00:39,636
One of the biggest groups
of blues that I have ever seen,

1032
01:00:39,679 --> 01:00:40,985
but Michael, damn it!

1033
01:00:41,550 --> 01:00:43,640
Damn! This guy!

1034
01:00:55,739 --> 01:00:57,915
We were all speechless.

1035
01:00:57,958 --> 01:00:59,873
Not only did he raise the bar

1036
01:00:59,917 --> 01:01:02,484
in terms of musicality
for the San Francisco scene,

1037
01:01:02,528 --> 01:01:05,052
but he was also a bit of a teacher,

1038
01:01:05,096 --> 01:01:06,706
because we were all going to see it,

1039
01:01:06,750 --> 01:01:08,490
And in six months,

1040
01:01:08,534 --> 01:01:09,709
everyone imitated
his sentences and all that.

1041
01:01:17,108 --> 01:01:19,937
Paul Butterfield's group,
at the exit of East-West,

1042
01:01:19,980 --> 01:01:21,025
had become another group.

1043
01:01:21,678 --> 01:01:24,681
It was the full boom of
psychedelic experimentation,

1044
01:01:24,942 --> 01:01:28,423
Where we discovered

1045
01:01:28,467 --> 01:01:30,295
what was presented
like Leary's acid.

1046
01:01:39,217 --> 01:01:40,697
Some will say that it must be

1047
01:01:40,740 --> 01:01:42,655
like Muddy Waters to be blues.

1048
01:01:42,699 --> 01:01:44,439
And some say

1049
01:01:44,483 --> 01:01:47,225
that you have to have a certain type of instrumentation
for the blues,

1050
01:01:47,704 --> 01:01:49,531
This is bullshit, man.

1051
01:01:49,575 --> 01:01:52,273
This word has so much meaning
what about “greens and reds”

1052
01:01:52,317 --> 01:01:53,361
or, you see?

1053
01:01:56,321 --> 01:01:58,192
East-West was based on drugs

1054
01:01:58,236 --> 01:02:00,325
and on listening to Ravi Shankar.

1055
01:02:00,368 --> 01:02:03,023
and Bloomfield was the
main instigator.

1056
01:02:03,067 --> 01:02:05,460
And he cracked them up at the bar with it

1057
01:02:05,504 --> 01:02:08,725
for he made circles of fire in the midst,

1058
01:02:08,768 --> 01:02:11,031
And this music was playing in the background.

1059
01:02:11,075 --> 01:02:12,729
It can be said that some

1060
01:02:12,772 --> 01:02:13,772
had the brains
on fire watching this.

1061
01:02:14,556 --> 01:02:16,080
Bill Graham, who did not know

1062
01:02:16,123 --> 01:02:18,125
not much to the music scene
before promoting concerts

1063
01:02:18,169 --> 01:02:20,475
at the Fillmore Auditorium in San Francisco,

1064
01:02:20,780 --> 01:02:23,130
quickly turned to Mike Bloomfield
for advice.

1065
01:02:23,870 --> 01:02:27,265
Bloomfield told him to bring
the old bluesmen.

1066
01:02:27,569 --> 01:02:29,223
And then I started talking to Bill.

1067
01:02:29,267 --> 01:02:31,182
I said, "Listen, if you like us,

1068
01:02:31,225 --> 01:02:32,574
"you need to bring these other guys in,

1069
01:02:32,618 --> 01:02:34,228
“the real musicians.”

1070
01:02:34,272 --> 01:02:35,795
We need to bring in Muddy Waters.

1071
01:02:35,839 --> 01:02:38,363
We need to bring in BB King, because...

1072
01:02:38,406 --> 01:02:40,017
That's the real thing, man.

1073
01:02:40,060 --> 01:02:41,496
The young people didn't like us,

1074
01:02:41,540 --> 01:02:43,107
They're going to have to love these people.

1075
01:02:43,150 --> 01:02:45,892
And God knows that young people
had enough taste

1076
01:02:45,936 --> 01:02:47,154
and they have enough taste

1077
01:02:47,198 --> 01:02:48,852
to appreciate the real thing, you see?

1078
01:02:50,549 --> 01:02:53,595
Michael and Butter were my teachers

1079
01:02:53,639 --> 01:02:56,250
regarding artists

1080
01:02:56,294 --> 01:02:58,209
what I had to do
come to the Bay Area,

1081
01:02:58,252 --> 01:03:01,081
and to be exhibited to the public
mostly white

1082
01:03:01,125 --> 01:03:02,343
who came to rock and roll concerts.

1083
01:03:02,387 --> 01:03:04,955
As a result, between Bill and me,

1084
01:03:04,998 --> 01:03:07,348
we somehow created,
resurrected careers

1085
01:03:07,392 --> 01:03:10,612
many black artists,

1086
01:03:10,656 --> 01:03:12,571
relatively unknown at the time,

1087
01:03:13,093 --> 01:03:14,791
which are no longer.

1088
01:03:15,269 --> 01:03:17,271
Many doors then opened

1089
01:03:17,315 --> 01:03:18,925
who had never
open for us.

1090
01:03:18,969 --> 01:03:21,754
And it was a big boost

1091
01:03:22,320 --> 01:03:24,626
in the right direction for the blues.

1092
01:03:25,018 --> 01:03:26,933
And finally, one day,

1093
01:03:26,977 --> 01:03:29,806
I was hired at the Fillmore,

1094
01:03:29,849 --> 01:03:31,982
where we played before
Bill Graham buys it.

1095
01:03:32,025 --> 01:03:34,201
When I arrived that day,

1096
01:03:34,245 --> 01:03:36,769
I see a young audience, white people.

1097
01:03:36,813 --> 01:03:39,119
I told myself that I was
in the wrong place.

1098
01:03:39,163 --> 01:03:40,729
Bill Graham came out and said:

1099
01:03:40,773 --> 01:03:42,470
“This is where you have to play, here.”

1100
01:03:43,210 --> 01:03:44,777
I enter the dressing room,
I'm very nervous.

1101
01:03:44,821 --> 01:03:46,953
Go get Bill Graham,
tell him I want a drink.

1102
01:03:46,997 --> 01:03:49,347
He came back, I took a few sips,

1103
01:03:49,390 --> 01:03:51,958
and I remember that when I arrived on stage,
he said:

1104
01:03:52,002 --> 01:03:53,351
“Ladies and gentlemen,

1105
01:03:53,394 --> 01:03:55,440
I present to you the president of the council,
B.B. King.”

1106
01:03:55,483 --> 01:03:58,182
Suddenly,
all the young people stood up.

1107
01:04:00,358 --> 01:04:03,056
I cried,
because that had never happened to me.

1108
01:04:05,319 --> 01:04:07,234
The flame had been transmitted.

1109
01:04:11,717 --> 01:04:13,414
At the same time,

1110
01:04:13,458 --> 01:04:15,721
the relationship between Mike Bloomfield and
Paul Butterfield has deteriorated.

1111
01:04:16,896 --> 01:04:19,725
I think what has
led to Mike's departure,

1112
01:04:19,768 --> 01:04:22,684
The Butterfield Band
was a dissatisfaction

1113
01:04:22,728 --> 01:04:25,339
facing the band's lifestyle on tour

1114
01:04:25,383 --> 01:04:28,081
and want to do your own thing.

1115
01:04:32,172 --> 01:04:33,608
Bloomfield followed Nick Gravenites

1116
01:04:33,652 --> 01:04:35,306
to Marin County, California,

1117
01:04:35,349 --> 01:04:37,612
across the Golden Gate Bridge
from San Francisco,

1118
01:04:38,352 --> 01:04:39,919
Where, with Barry Goldberg,

1119
01:04:39,963 --> 01:04:42,139
they set up a new
group they called

1120
01:04:42,182 --> 01:04:43,880
The Electric Flag.

1121
01:04:49,624 --> 01:04:51,365
Very quickly,
they will be joined in the Bay Area

1122
01:04:51,409 --> 01:04:54,368
by Steve Miller, Charlie Musselwhite,

1123
01:04:54,412 --> 01:04:56,370
Harvey Mandel and Elvin Bishop.

1124
01:04:57,676 --> 01:05:00,374
For Electric Flag, Goldberg and Bloomfield

1125
01:05:00,418 --> 01:05:02,115
found a drummer
19 year old who sang

1126
01:05:02,159 --> 01:05:04,770
like a god, named Buddy Miles.

1127
01:05:19,611 --> 01:05:21,656
We had two great singers,
we had Nick,

1128
01:05:21,700 --> 01:05:24,616
who was the singer
blues par excellence,

1129
01:05:24,659 --> 01:05:27,097
we had Buddy Miles,
a wonderful soul singer

1130
01:05:27,140 --> 01:05:30,100
who made the room vibrate like no other
with its battery.

1131
01:05:30,143 --> 01:05:31,753
We had the brass section,

1132
01:05:31,797 --> 01:05:34,887
and then we had Michael
Bloomfield on guitar.

1133
01:05:34,931 --> 01:05:37,455
When he was in good shape,
no one could beat him.

1134
01:05:38,195 --> 01:05:39,979
Electric Flag debuted

1135
01:05:40,023 --> 01:05:42,068
highly anticipated live

1136
01:05:42,112 --> 01:05:45,593
at the Monterey festival in June 1967,

1137
01:05:46,159 --> 01:05:48,466
at the top of the program
Saturday afternoon

1138
01:05:48,509 --> 01:05:50,076
in front of the new Steve Miller Blues Band

1139
01:05:50,120 --> 01:05:53,123
and the new Paul Butterfield Blues Band.

1140
01:06:11,793 --> 01:06:13,578
We are really sincere,
we all love you, man,

1141
01:06:13,621 --> 01:06:15,493
Because it's really cool, man.

1142
01:06:16,189 --> 01:06:17,886
Monterey is really cool, man!

1143
01:06:18,191 --> 01:06:19,671
It's awesome, man,

1144
01:06:19,714 --> 01:06:21,934
This is our generation, man,

1145
01:06:21,978 --> 01:06:24,154
all together, we are all here,
man, and it's awesome.

1146
01:06:24,197 --> 01:06:27,940
Michael was so intense,
so nervous and excited,

1147
01:06:27,984 --> 01:06:31,074
that he counted the pieces
at double speed

1148
01:06:31,117 --> 01:06:32,466
of that to which we
played them normally.

1149
01:08:24,752 --> 01:08:26,928
The blues had been saved.

1150
01:08:28,278 --> 01:08:29,756
With the musical explosion that took place

1151
01:08:29,801 --> 01:08:31,803
following the Monterey festival,

1152
01:08:32,238 --> 01:08:33,935
the blues entered
the mainstream.

1153
01:08:41,029 --> 01:08:42,988
The original masters, like BB King,

1154
01:08:43,031 --> 01:08:44,511
Muddy Waters and the others,

1155
01:08:44,859 --> 01:08:46,687
lived their lives in prosperity

1156
01:08:46,731 --> 01:08:48,689
and the recognition that they
would never have imagined

1157
01:08:48,733 --> 01:08:50,386
when music was not accessible

1158
01:08:50,430 --> 01:08:52,693
only in a few neighborhoods of Chicago.

1159
01:09:18,850 --> 01:09:20,808
Mike Bloomfield played the blues

1160
01:09:20,852 --> 01:09:24,247
all his life and died in 1981 at the age of 37.

1161
01:09:29,774 --> 01:09:31,428
Paul Butterfield
never stopped playing.

1162
01:09:31,906 --> 01:09:35,082
He died in 1987, at age 44.

1163
01:09:51,796 --> 01:09:53,841
Mike Bloomfield was like a son.

1164
01:09:54,102 --> 01:09:55,234
We lost him too soon.

1165
01:10:02,589 --> 01:10:04,069
Charlie Musselwhite and Elvin Bishop

1166
01:10:04,112 --> 01:10:05,940
continue to play the blues to this day.

1167
01:10:07,115 --> 01:10:10,249
Oh yes,
it was a really interesting time.

1168
01:10:10,293 --> 01:10:11,729
I feel very lucky.

1169
01:10:14,297 --> 01:10:15,776
The world agreed with me.

1170
01:10:16,473 --> 01:10:18,866
When we are children,
we believe it will last forever

1171
01:10:18,910 --> 01:10:21,913
and it really was an ideal situation.

1172
01:10:42,847 --> 01:10:44,979
Steve Miller became

1173
01:10:45,023 --> 01:10:46,981
one of the largest
rock stars of the 70s.

1174
01:10:47,330 --> 01:10:50,202
He plays blues
Chicago at every concert.

1175
01:10:59,342 --> 01:11:03,084
I was in Chicago at the time.

1176
01:11:03,128 --> 01:11:05,304
where Butterfield flourished,

1177
01:11:05,348 --> 01:11:07,611
and where Howlin' Wolf and Muddy Waters

1178
01:11:07,654 --> 01:11:10,178
came to play on the North Side.

1179
01:11:10,222 --> 01:11:12,790
This could only happen in Chicago.

1180
01:11:28,762 --> 01:11:30,373
Today the blues is at the heart

1181
01:11:30,416 --> 01:11:32,331
American music.

1182
01:11:32,375 --> 01:11:34,159
The original masters have
been recognized and honored,

1183
01:11:34,202 --> 01:11:36,814
many have been inducted
in the Rock and Roll Hall of Fame,

1184
01:11:36,857 --> 01:11:39,382
including Muddy Waters, Howlin' Wolf,

1185
01:11:39,425 --> 01:11:42,907
Little Walter, Buddy Guy, BB King,

1186
01:11:42,950 --> 01:11:44,430
and the Paul Butterfield Blues Band.

1187
01:11:47,172 --> 01:11:49,348
I ended up joining the
Paul Butterfield's group,

1188
01:11:49,392 --> 01:11:52,960
Michael Bloomfield, Mark Naftalin, Sam Lay

1189
01:11:53,004 --> 01:11:54,005
and Jerome Arnold.

1190
01:11:54,048 --> 01:11:55,659
It was a shock group,

1191
01:11:55,702 --> 01:11:59,010
and we helped the blues to
reach the general public.

1192
01:12:00,707 --> 01:12:04,015
And we gave the example, which was
very necessary at the time,

1193
01:12:04,058 --> 01:12:06,757
that people of different races
can work together

1194
01:12:06,800 --> 01:12:07,845
and do good.

1195
01:12:33,479 --> 01:12:36,221
In the 21st century, Nick Gravenites,

1196
01:12:36,264 --> 01:12:38,354
Barry Goldberg, Harvey Mandel

1197
01:12:38,397 --> 01:12:40,268
and Corky Siegel reunited

1198
01:12:40,312 --> 01:12:42,575
to form the Chicago Blues Reunion,

1199
01:12:42,619 --> 01:12:45,317
to celebrate the music they
all started playing.

1200
01:12:45,361 --> 01:12:48,538
This group brings together
artists who have a story

1201
01:12:48,581 --> 01:12:50,061
and who want people to know it.

1202
01:12:51,323 --> 01:12:55,109
It wasn't just the Rollings
Stones and Eric Clapton,

1203
01:12:56,284 --> 01:12:58,417
They were the Chicago blues guys.