New Orleans native Henry Butler is a virtuoso jazz and rhythm & blues pianist, a schooled vocalist naturally imbued with gospel credibility, a fierce performer and an expressive composer. "Once I sit at the keyboard, it's right there," says the 51-year-old Butler. "I have an instrument on which I can express anything I want." Calling himself a perpetual "work in progress," Butler, a critically lauded jazz recording artist and an accomplished photographer (all the more startling considering Butler has been blind since infancy), returned to his roots with Blues After Sunset on Black Top Records, an album of straight ahead New Orleans piano blues.
Born in the musical hotbed of New Orleans, Louisiana, Butler was attracted to piano at a very young age. By the time he was seven, he had joined the glee club at the Louisiana School For The Blind, where he was already studying piano. He was playing R&B and gigging professionally by the time he was 14, and went on to study voice in high school. Butler attended Southern University in New Orleans. Once there, he fell under the spell of jazz giant Alvin Batiste, who quickly became Butler's mentor. Batiste taught Butler how to improvise, and the importance of spontaneously playing what's in the mind's eye. With Batiste's help, Butler began adding the jazz legacy of Art Tatum, Bud Powell, Charlie Parker and John Coltrane to the Crescent City R&B he'd absorbed from Eddie Bo, Tommy Ridgley, James Booker and Professor Longhair.
After graduating from college, Butler plunged into performing around New Orleans, playing his own mix of jazz and R&B. He went on to earn a master's degree from Michigan State University before returning to New Orleans in 1974. Once there, he began gigging with every important jazz and R&B musician in the city, including Charlie Haden and Batiste. While teaching at the New Orleans Center For The Creative Arts, Butler spent a few very intense afternoons in the living room of Professor Longhair, learning Fess' shuffle patterns, trills and parallel thirds and sixths. "Fess showed me how he approached the piano and mainly taught by demonstrating," recalls Butler. "I listened and tried to emulate what he had shown me."
Butler moved to Los Angeles in 1980 where he gigged and worked as a talent development consultant for Motown Records and the Stevie Wonder organization. After sitting in with bassist Charlie Haden, Butler's fortunes changed. He recorded his first album, Fivin' Around, for MCA/Impulse! in 1986. After a second MCA/Impulse! release, The Village, Butler's reputation as an important force in the jazz world began earning him hordes of new fans. Critics raved about a virtuoso pianist who mixed soul with brains, and about a live performer who consistently knocked audiences off their feet with his lightning-fast runs. "Mr. Butler revels in fluency and facility, splashing chords all over the keyboard and streaking through solos with machine-gun articulation," said The New York Times. "Boldly straddling the boundary between down-home funk and jazz improvisation," added Billboard.
Butler recorded two albums for Windham Hill, 1990's Orleans Improvisation and 1992's Blues And More, before heading back to New Orleans in 1996. He released For All Seasons that same year on Atlantic Jazz, again to massive critical acclaim. He won the 1998 "Best Of The Beat" Award from Offbeat magazine for Best New Orleans Piano Player, and continues to impress critics, fans and fellow musicians with his massive talents. Butler is committed to the blues and is excited about expanding the form in ways only he can. "Henry Butler is one of the artists laying the foundation for the 21st century," says Alvin Batiste of his former student. "Henry Butler is my all-time favorite musician," says pianist and recording artist George Winston.
The 1998 release of Blues After Sunset found Butler playing some of the most innovative and challenging piano blues since the heyday of Professor Longhair and James Booker. Drawing inspiration from 1920s stride piano, 1940s bebop, 1950s R&B and 1990s avant-garde, Butler brings his technical ability and soul-deep passion to all of his material. "He's the pride of New Orleans and a visionistical down-home cat and hellified piano plucker to boot," raves one of Butler's most famous admirers, Dr. John.
Butler's stride bass figures and swirling right hand have led at least one critic to describe him as "McCoy Tyner in the left hand, Professor Longhair in the right, the best stride-and-blues-based modernist you've ever heard." "Butler simply produces more ideas and commands more techniques for articulating and developing them than one is accustomed to hearing from a single artist," raved The Chicago Tribune.
While Butler no doubt appreciates the accolades, he's always looking within himself for new sounds and ideas. "I like being in a place where I can pour out my soul," he says of his love of the blues form. And his return to his New Orleans blues roots already is giving friends, fans and critics something to enjoy for a long time to come.
Two modern solo musicians with deep roots in the Crescent City--guitarist/vocalist/songwriter Corey Harris and pianist/vocalist/songwriter Henry Butler--add to the city's musical legacy with their first duet album, vu-du Menz (AL 4872), on Alligator Records. Featuring sometimes serious, sometimes rollicking, acoustic duets from these two exceptionally gifted artists, vu-du Menz is a joyous celebration of deep South musical styles, as Harris and Butler combine forces to create an album of pure Southern musical magic.
Vu-du Menz (AL 4872) was recorded in four days in January 2000 at Dockside Studios in southwest Louisiana. Although separated by 20 years in age, Harris and Butler are of one musical mind, communicating almost telepathically throughout the album's 15 songs (including 13 originals), which range in subject from timeless expressions of love to biting social commentary. The songs on vu-du Menz range from straight-ahead blues (Song Of The Pipelayer) to ragtime (If You Let A Man Kick You Once…) to New Orleans funk (Voodoo Man) to jazz (L'Espirit de James) to gospel (Didn't The Lord Deliver Daniel?). Harris' supple guitar playing and husky vocals perfectly blend with Butler's genre-defying piano playing and huge, soulful singing voice throughout each and every song on this tradition-based, forward-thinking album.
Over the course of his three Alligator releases, Corey Harris emerged as one of the most visionary and popular of the new generation of acoustic-based blues and roots performers. Harris' third Alligator release, 1999's Greens From The Garden (with Butler guesting on two songs), spanned the musical landscape by melding reggae, ska, hip-hop, country, ragtime and Delta blues. And since exploding on the blues scene in 1995, Harris has appeared on CNN's Showbiz Today, NPR's Weekend Edition, Fresh Air, and World Café, as well as CBS Radio's House Of Blues Radio Hour. Greens From The Garden received regular rotation airplay on 125 stations and made the charts at Gavin, Album Network, FMQB, and CMJ. The album also received rave reviews from Rolling Stone, Guitar Player, Request, The Washington Post, The Chicago Tribune, The London Times and many other national and regional publications. Harris has toured extensively on his own and supported artists such as The Dave Matthews Band, Natalie Merchant, Billy Bragg and, most recently Ben Harper. "An authentic voice and an eclectic vision," declared The San Francisco Bay Guardian.
Henry Butler, already a well-recorded and renowned jazz pianist, dove deep into the blues on 1998's Blues After Sunset (Black Top), to prove himself the rightful heir of James Booker and Professor Longhair. Butler, like Harris, shares a love of all roots music styles, and never limits himself. Blues After Sunset, (his first all-vocal record) blended elements of blues, jazz and New Orleans funk into a mouth watering musical gumbo. Butler released Blues After Sunset after cutting instrumental jazz records for Atlantic Jazz, Impulse! and Windham Hill. His awe-inspiring chops and powerfully soulful voice won positive reviews in Jazz Times, Keyboard, Down Beat, Request, the Associated Press newswire, The Austin American-Statesman and The San Francisco Chronicle. The Chicago Tribune said Butler shows "tremendous expressive power…his command of the keyboard suggests the work of four incredibly gifted hands, not two."
Now, with vu-du Menz, Corey Harris and Henry Butler add another remarkable chapter to their still-evolving success stories. Together or on their own, Harris and Butler represent the best the new generation of acoustic blues - and New Orleans music - has to offer. And with their broad vision and deep musical roots, there's no question Harris and Butler will keep pushing the roots music envelope further, while satisfying hungry music fans for many years to come.