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Pianist Henry Butler is one blind bluesman with extraordinary vision.
By Dave McElfresh
NO COUNTRY IN the world produces regional music as distinct
as what we churn out in the good old U.S. of A.--not that the
average music listener thinks anything on CD originates anywhere
other than Los Angeles or New York. Yeah, some blues fans are
familiar with the Chicago scene from the '50s, thanks to Buddy
Guy, Eric Clapton and the Stones praising the Windy City's defunct
Chess Records, home of Muddy Waters and Howlin' Wolf. But New
Orleans has been the underrated music capitol of the country for
an entire century, having brought us icons as varied as Little
Richard, Dr. John, Louis Armstrong and the Neville Brothers.
New Orleans pianist Henry Butler so well incorporates the region's
entire stylistic spectrum that he damn well deserves a regular
paycheck from the Crescent City's Chamber of Commerce. Butler's
five albums delve into the jazz, rhythm and blues and early rock
and roll that've infiltrated the rest of the country over previous
decades.
"I enjoy doing roots music because I think I can push the
envelope in that area and bring in new devices," he said
regarding the music on his newest release, Blues After Sunset.
The album is a bayou-drenched exercise in Southern piano history,
conveying the personalities of significant and terribly overlooked
national treasures like James Booker and Professor Longhair. Few
contemporary releases do a better job identifying the piano roots
of the now guitar-driven blues and rock categories.
Butler, whose previous albums stretched from the hardcore jazz
confines of the Impulse! label to the new-agey feel of Windham
Hill, is currently presenting himself as an evangelist for the
blues. While others might gravitate toward the blues as a marketable
move, the blind pianist naturally settles into the groove, making
his newest release sound like a homecoming. His compositions are
so thick with the piano blues style of his birthplace as to make
them indistinguishable from the traditional, regional public domain
cuts he covers.
Most contemporary blues music is faceless stuff used to pound
out a simplistic, drunken dance-floor prelude to midnight grab-n-giggle
games. Butler's output is thicker bizness, legitimately presenting
itself as a reverent but still rude nod toward the roots of funk
and boogie. You can slip out to screw if you wanna, but you might
prefer sticking around to hear Butler update the grooves that
made Southern grandparents drop their drawers. Nothing on any
station your radio dial reaches will sound as gritty. Dr. John
himself, whose spotty history as the post-Professor Longhair/James
Booker king of New Orleans piano is matched on Blues After
Sunset, refers to Butler as "the pride of New Orleans
and a visionistical down-home cat and hellified piano plunker
to boot."
One of the weirdest bits of info this writer has ever encountered
relates to Butler's side interest: The blind pianist is also a
dedicated photographer, which suggests that his senses regarding
music may be far more keen than those of the average musician.
"I could always tell the good players from the others,"
he says about his ability, reaching as far back as the age of
4, to distinguish between the artistic and the average. "That's
something I just don't know how to explain."
Prior to his appearance at the Tucson Blues Festival, Butler
will be sharing his insights with local students, on October 16
and 17. "I'll be forever grateful to those teachers who kept
me from being an insular musician," he recently stated in
an interview with New Orleans' Offbeat magazine. "They
helped me learn to not only tolerate, but to appreciate many,
many styles of music. Too often students wind up not getting as
much as they could from education because they learn only one
style. I may have gotten more out of my education," says
Butler, typically understating his knowledge of New Orleans' musical
history, "because I was more willing to explore and experience."
Pianist Henry Butler headlines the 14th-annual Tucson
Blues Festival on Sunday, October 18, in the Reid Park DeMeester
Outdoor Performance Center, Country Club Road entrance north
of 22nd Street. Avoid parking hassles and take the free shuttle.
The free "Blues in the Park" concert begins at 11:30
a.m. with Grams, Scott & Stillwagon, and continues
throughout the day with sets by Janiva Magness & Jeff Turmes,
Snooky Pryor, E.C. Scott, Tommy Castro, and Butler.
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