Mike Bloomfield Guitar Legend

by Ed Roman

Picture of Michael Bloomfield pondering between takes in the studioThe Gibson & Heritage Guitar companies both owe a tremendous debt of gratitude to Mike Bloomfield. If it wasn't for him the Les Paul might not have been as successful a product as it has been. After all the Les Paul is a poorly designed, Heavy, Clunky, Muddy, Blivot*.

Mike Bloomfield played a 59 Les Paul.

Remember the choices in the late 50's and early 60's were pretty slim. Most people played Fender back then. If you are a Mike Bloomfield fan you know that he could never have gotten that fat thick lead tone on a Fender.

I spoke to Paul Rothchild, Mike's producer and engineer and he told me that Mike used various other guitars in the studio including Fenders and Hagstroms because the Les Paul was too muddy to record chords with. I first met Paul back in the 70's he was promoting Alembic Basses and Furman Electronics. I of course asked him tons of questions about Jim Morrison, Robbie Krieger, Eric Burdon and tons of other luminaries he had worked with. Paul Rothchild produced all of "The Doors" Albums.

OK, OK, Back to the reasons Gibson and Heritage owe him the debt.

It was 1962, The Butterfield Blues Band & Al Kooper's Blues Project was by far the hippest music on the scene. As I said in the first sentence "Mike Bloomfield played a "Les Paul".

That same year a young studio guitarist who was playing a Fender and a Silvertone was listening to Mike Bloomfield on the BBC. He went on to record with the Kinks, The Yardbirds, Herman's Hermits, Freddie & the Dreamers and many more.  His name was James Page or Jimi Page.

When Keith Relf of the Yardbirds died, Jimi took the remaining members of the band and created Led Zeppelin.

Zeppelin of course was huge, young Paul Frehley was one of the hundreds of thousands who thought so. Paul who became the lead guitar player in KISS (Ace) was a "dyed in the wool" Jimi Page fan. I myself have been friends with Ace almost 25 years and I have jammed with him in his garage like a bunch of punk kids.  The songs we jammed on were all Led Zeppelin tunes, first & second album. Ace had all those riffs down cold. It was obvious that Jimi Page was his reason for playing guitar in the first place. I personally think that Ace got the KISS gig because of his proficiency at those licks.

I know Ace extremely well, I think he's a great guy, I have partied with him numerous times, I worked on his guitars for quite a few years during the time after he left KISS the first time. I have shown him many guitars that I consider to be much better than any Les Paul. But Ace is thoroughly convinced that a Les Paul is the only guitar in the world.

Ace has the attitude to end all attitudes, (don't confuse me with the facts, I have already made up my mind),

You simply cannot argue with that attitude, I call it the Harley Davidson syndrome. I feel sorry for people who let their lives be governed a brand name.

Anyway, Ace Frehley has influenced more guitar players today than anyone else. That is a documented fact.

That my friends is why the Les Paul hasn't  died and gone to Hell yet.

Mike Bloomfield, Jimi Page, Ace Frehley 3 generations have propagated the guitar all because there was no real other choice in 1962.

Truth can be stranger than fiction..............


Michael Bloomfield

by Jan Mark Wolkin

Michael Bernard Bloomfield was born July 28, 1943, in Chicago, Illinois. An indifferent student and self-described social outcast, Bloomfield immersed himself in the multi- cultural music world that existed in Chicago in the 1950s.

He got his first guitar at age 13. Initially attracted to the roots-rock sound of Elvis Presley and Scotty Moore, Bloomfield soon discovered the electrified big-city blues music indigenous to Chicago. At the age of 14 the exuberant guitar wunderkind began to visit the blues clubs on Chicago’s South Side with friend Roy Ruby in search of his new heroes: players such as Muddy Waters, Otis Spann, Howling Wolf, and Magic Sam. Not content with viewing the scene from the audience, Bloomfield was known to leap onto the stage, asking if he could sit in as he simultaneously plugged in his guitar and began playing riffs.

Bloomfield was quickly accepted on the South Side, as much for his ability as for the audiences' appreciation of the novelty of seeing a young white player in a part of town where few whites were seen. Bloomfield soon discovered a group of like-minded outcasts. Young white players such as Paul Butterfield, Nick Gravenites, Charlie Musselwhite, and Elvin Bishop were also establishing themselves as fans who could hold their own with established bluesmen, many of whom were old enough to be their fathers.

In addition to playing with the established stars of the day, Bloomfield began to search out older, forgotten bluesmen, playing and recording with Sleepy John Estes, Yank Rachell, Little Brother Montgomery and Big Joe Williams, among others. By this time he was managing a Chicago folk music club, the Fickle Pickle, and often hired older acoustic blues players for the Tuesday night blues sessions. Big Joe Williams memorialized those times in the song "Pick A Pickle" with the line "You know Mike Bloomfield...will always treat you right...come to the Pickle, every Tuesday night." Bloomfield’s relationship with Big Joe Williams is documented in "Me And Big Joe," a moving short story detailing Bloomfield’s adventures on the road with Williams.

Bloomfield's guitar work as a session player caught the ear of legendary CBS producer and talent scout John Hammond, Sr., who flew to Chicago and immediately signed him to a recording contract. However CBS was unsure of exactly how to promote their new artist, declining to release any of the tracks recorded by Bloomfield's band, which included harp player Charlie Musselwhite.

With a contract but not much else, Bloomfield returned to playing clubs around Chicago until he was approached by Paul Rothchild, the producer of the Paul Butterfield Blues Band albums. Bloomfield was recruited to play slide guitar and piano on early recordings (later released as The Lost Elektra Sessions) which were rejected for not fully capturing the sound of the band. Although more competitors than friends ("I knew Paul [and I] was scared of him" remembered Mike), the addition of Bloomfield to the Butterfield Band provided Paul Butterfield with a musician of equal caliber -- Paul and Michael inspired and challenged each other as they traded riffs and musical ideas, one establishing a pattern and the other following it, extending it, and handing it back.

In between recording sessions with the Butterfield Band, Bloomfield backed up Bob Dylan on the classic Highway 61 Revisited album, and appeared with him at the Newport Folk Music Festival in 1965 when Dylan stunned the purist folk music crowd by playing electric rock-and-roll. Declining an offer from Dylan to join his touring band, Bloomfield and the Butter Band returned to the studio; with the addition of pianist Mark Naftalin they finally captured their live sound on vinyl.

The first two Butterfield Blues Band albums, the Dylan sessions, and the live appearances by the Butterfield Band firmly established Bloomfield as one of the most talented and influential guitar players in America. The second album featured the Bloomfield composition "East-West" which ushered in an era of long instrumental psychedelic improvisations.

Bloomfield left the Butterfield Blues Band in early 1967 ostensibly to give original guitarist Elvin Bishop, in Mike's words, "a little space." Undoubtedly he had also become uncomfortable with Paul Butterfield's position as bandleader and was anxious to lead his own band.

That band, The Electric Flag, included Bloomfield's old friends from Chicago, organist Barry Goldberg and singer/songwriter Nick Gravenites, as well as bass player Harvey Brooks and drummer Buddy Miles. The band was well received at its official debut at the Monterey Pop Festival but quickly fell apart due to drugs, egos, and poor management.

Bloomfield, weary of the road, suffering from insomnia, and uncomfortable in the role of guitar superstar, returned to San Francisco to score movies, produce other artists, and play studio sessions. One of those sessions was a day of jamming in the studio with keyboardist Al Kooper, who had previously worked with Bloomfield on the 1965 Dylan sessions.

Super Session, the resultant release, with Bloomfield on side one and guitarist Stephen Stills on side two, once again thrust Bloomfield into the spotlight. Kooper's production and the improvisational nature of the recording session captured the quintessential Bloomfield sound: the fast flurries of notes, the incredible string bending, the precise attack, and his masterful use of tension and release.

Although Super Session was the most successful recording of his career, Bloomfield considered it to be a scam, more of an excuse to sell records than a pursuit of musical goals. After a follow-up live album, he "retired" to San Francisco and lowered his visibility.

In the seventies Bloomfield played gigs in the San Francisco area and infrequently toured as Bloomfield And Friends, a group which usually included Mark Naftalin and Nick Gravenites. Bloomfield also occasionally helped out friends by lending his name to recording projects and business propositions, such as the ill-fated Electric Flag reunion in 1974 and the KGB album in 1976. In the mid-seventies Bloomfield recorded a number of albums with a more traditional blues focus for smaller record labels. He also recorded an instructional album of various blues styles for Guitar Player magazine.

By the late seventies Bloomfield's continuing drug and health problems caused erratic behavior and missed gigs, alienating a number of his old associates. Bloomfield continued playing with other musicians, including Dave Shorey and Jonathan Cramer. In the summer of 1980 he toured Italy with classical guitarist Woody Harris and cellist Maggie Edmondson. On November 15, 1980, Bloomfield joined Bob Dylan on stage at the Warfield Theater in San Francisco and jammed on "Like A Rolling Stone," the song they had recorded together 15 years earlier.

Michael Bloomfield was found dead in his car of a drug overdose in San Francisco, California on February 15, 1981.

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