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Most Helpful Customer Reviews
7 of 7 people found the following review helpful:
4.0 out of 5 stars
Excellent blues piano CD.,
By A Customer
This review is from: Blues After Sunset (Audio CD)
This was recommended to me by my blues pianist friend, and I have to say after listening to it I don't mind forking over the cash to buy it. It's solid blues throughout, taking advantage of different styles, inserting jazz and a New Orleans flavor at times. Other tracks are more traditional hard-core blues. The other musicians accompany Butler well, providing a guitar and harmonica. The harp playing is especially fine, notably on "Tetherball," in which variations on a theme are played on the harp while Butler spins around it on the piano. Overall, a fine album and a good blues listen.
11 of 13 people found the following review helpful:
5.0 out of 5 stars
Great Improvisation,
By A Customer
This review is from: Blues After Sunset (Audio CD)
I am a muscian my self and I really enjoyed Blues After Sunset. Butler brings new meaning to blues improv. With each song he plays, he hits every key on the piano, and it all sounds good anyway. AMAZING!!! BUY IT IF YOU LIKE BLUES, OR GOOD IMPROV IN GENERAL!
1 of 1 people found the following review helpful:
5.0 out of 5 stars
Outstanding New Orleans blues with Snooks Eaglin,
Amazon Verified Purchase(What's this?)
This review is from: Blues After Sunset (Audio CD)
If you are reading this, you probably already know that Henry Butler is one of the greatest piano players around. He has mastered every style, but on this album, he sticks to straight New Orleans blues. What it lacks in diversity, though, it makes up for with soul, courtesy of the brilliant interaction between Butler and the late, great Snooks Eaglin in a stripped down setting. Snooks Eaglin was one of the towering giants of New Orleans music, with a distinctive guitar tone and a complete mastery of the sounds of New Orleans. He passed away recently, and while many of his recordings are outstanding, some of them are burdened by bands that are too large for their own good. This album, though, allows us to hear what happens when Snooks Eaglin and Henry Butler get together with very little accompaniment. The results are oustanding, and every bit as satisfying as Henry Butler's other collaboration with a guitarist in a stripped-down setting (Vu-Du Menz, with Corey Harris). That makes this album precious, not only for the quality of Butler's playing, but as an all-too-rare testimony to the greatness of the late Snooks Eaglin. If you like New Orleans blues, piano blues, or Snooks, this album is essential.
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