The Paul Butterfield Blues Band
East-West

Before anyone corrects me, I am aware that I previously submitted a review of this album, but partly for personal satisfaction, and partly out of respect for the album, I find it right to offer you a more complete and exhaustive review of one of the most beautiful blues works.

"...The three great B's of classical music were Beethoven, Brahms, and Bach, today the three great B's of blues are Bloomfield, Bishop, and Butterfield...".

These are the words that Paul Nelson writes on the back cover of the legendary "East-West" to introduce one of the most glorious blues bands in history: the Butterfield Blues Band. As early as 1966, it enjoyed a decent reputation in the San Francisco area, thanks to its first live performances. It is difficult not to be struck by a group when it is formed by a great bluesman like the old Paul Butterfield, accompanied by two phenomenal guitarists like Mike Bloomfield and Elvin Bishop. After recording the first album ("Paul Butterfield Blues Band"), Butterfield, Bloomfield, Bishop, keyboardist Mark Naftalin, drummer Billy Davenport, and bassist Jerome Arnold began recording one of the greatest albums of the genre (and also of all rock).

"East-West" (as I have always maintained) extended the meaning of the word BLUES, departing from the usual three-chord compositions and moving towards music never heard before: a mix of psychedelia, jazz, Indian music, and obviously blues. The journey from east to west begins with the irresistible "marcetta" (if I may call it a march) of "Walkin' Blues". Tight rhythms, rough guitars, energetic harmonica pave the way to one of the most beautiful (and underrated) journeys in rock music. The pace slows but the adrenaline is always high with the following "Get Out Of My Life, Woman", where Naftalin outdoes himself with his splendid piano solo that partially echoes typically jazz sounds. Slow blues is not lacking: "I've Got A Mind To Give Up Living" and the splendid "Never Say No" (with Bishop on vocals) recall the classic melodies of American culture during the first half of the '900s. The psychedelia is evident in the unforgettable "Mary Mary" (absolutely better than the Monkees' version) and in the two instrumental tracks I will discuss later. The energy is unleashed in the historic "Two Trains Running" and the excellent "All These Blues". But the cornerstones of the work are the two instrumental tracks. The first great gem is "Work Song", perfect in every facet: Bloomfield leads the way with the splendid Nat Adderley jazz phrasing, rough in sounds, angular in interweaving, simply sublime; Butterfield follows with the harmonica and Naftalin on keyboards; Bishop concludes by revisiting Bloomfield's theme with a more fluid and elegant style (which does not necessarily mean more beautiful). The cornerstone of the whole album is the splendid suite "East-West" (composed by Naftalin and Nick Gravenites): it is Bishop who starts this time and completely distances himself from the blues tradition, experimenting with a new less American style. Unforgettable is the intertwining of old Elvin's guitar with his companion Mike: the blues becomes global, the East meets the West, modal scales replace pentatonics, Ravi Shankar and John Coltrane are in the air, something new is sprouting (some compare them to the Doors, but I see a significant difference).

It is useless to add further comments: "East-West" is one of the most important works of the American scene. Forty years later, jazzists and bluesmen are still amazed at listening to such exciting and timeless music. Butterfield and companions have left their mark on the history of modern music.