Hubert Sumlin - Made in Argentina 1993(blues)(mp3@320)[rogercc][h33t]

Hubert Sumlin - Made in Argentina 1993
Released: 1994
Label: Blues Special
Format:Mp3@320



Quiet and extremely unassuming off the bandstand, Hubert Sumlin played a style of guitar incendiary enough to stand tall beside the immortal Howlin' Wolf. The Wolf was Sumlin's imposing mentor for more than two decades, and it proved a mutually beneficial relationship; Sumlin's twisting, darting, unpredictable lead guitar constantly energized the Wolf's 1960s Chess sides, even when the songs themselves (check out "Do the Do" or "Mama's Baby" for conclusive proof) were less than stellar.
Sumlin started out twanging the proverbial broom wire nailed to the wall before he got his mitts on a real guitar. He grew up near West Memphis, AR, briefly hooking up with another young lion with a rosy future, harpist James Cotton, before receiving a summons from the mighty Wolf to join him in Chicago in 1954.
Sumlin learned his craft nightly on the bandstand behind Wolf, his confidence growing as he graduated from rhythm guitar duties to lead. By the dawn of the '60s, Sumlin's slashing axe was a prominent component on the great majority of Wolf's waxings, including "Wang Dang Doodle," "Shake for Me," "Hidden Charms" (boasting perhaps Sumlin's greatest recorded solo), "Three Hundred Pounds of Joy," and "Killing Floor."
Although they had a somewhat tempestuous relationship, Sumlin remained loyal to Wolf until the big man's 1976 death. But there were a handful of solo sessions for Sumlin before that,
Tracklist:
01. Hubert's Shuffle (2.34)
02. Blues for Argentina (9.30)
03. Killing Floor (3.52)
04. Sitting on Top of The World (5.32)
05. Howlin' for My Baby (3.02)
06. Blues in My Time (7.10)
07. Don't Worry (3.17)
08. Road of No Return (4.46)
09. Mannish Boy (3.23)
10. Rockin' With My Baby (3.30)
11. I'll Help You (4.34)
12. Last Night (4.40)
13. I Did What I Could (3.35)
14. Chicken Shack (3.04)

Hubert Sumlin - Guitar & Vocals
German Weidemer - Keyboards
Cacho Gallardo - Bass Guitar
Adrian Flores - Drums
Emilio Villanueva - Tenor Sax
and
Chupete Milone - Harmonica (2,4,10,12)
Leon Almara - 12 String Guitar (1,5,6,13)
Recorded in Buenos Aires, Argentina, 1993.
[quote=Calgary Herald(5/12/2011)]Hubert Sumlin, who died of heart failure Sunday 4th December 2011 at 80, is a crucial figure whose remarkable, mercurial, breathtaking style and long-standing legacy (Jimi Hendrix and Stevie Ray Vaughan owed him a debt; Keith Richards, Jimmy Page and Eric Clapton even more so) is a subject for far more scholarly scribes.
But what everyone who learns anything about the blues should know, of course, is that as Howlin’ Wolf’s guitarist, from the mid-’50s until Wolf’s death in 1976, Sumlin was responsible for some of the most enduring and electrifying blues music of any era, from any region. (He’s most closely associated with Chicago, where he migrated as a young man after being born in Greenwood, Miss.)
Smokestack Lightning, Wang Dang Doodle, Spoonful (famously covered by Cream), Back Door Man, Hidden Charms (boasting some of his most incredible playing), Three Hundred Pounds of Joy, the vicious Killing Floor (later one of Hendrix’s most wicked jams) — all of them bear the unforgettable mark of Hubert Sumlin as much as they do Howlin’ Wolf or any other blues vocalist with whom he worked.
Even in his later years, when he would perform with an oxygen tank at his side after having had a lung removed from cancer in 2002, Sumlin’s fretwork could still be astonishing. At his peak, on those seminal sides for Sun Records and Chess Records, his playing was often nothing short of a jolt to the senses — so ironic, considering what a quiet, gentle soul he reportedly was.
Yet had he only cut a handful of those most galvanizing records with the Wolf, Sumlin still would have been powerhouse enough to rank as high as he did on Rolling Stone’s recent list of the 100 greatest guitarists of all-time. (He came in at No. 43.)
As Dave Hoekstra of the Chicago Sun-Times writes in his more thorough, anecdotal appreciation of Sumlin: “The 1953 summit of Mr. Sumlin and Wolf was to blues what the meeting of Scotty Moore and Elvis Presley was to rock just a year later.” His importance cannot be overstated.