This conversation‍ with teh legendary Hubert Sumlin first appeared ‍in the March 1992‌ edition of Guitar World.

The‌ Unbreakable Bond: Howlin’ Wolf and Hubert Sumlin

In the realm⁢ of music, few partnerships resonate as profoundly as that of‌ the iconic blues vocalist Howlin’ ​Wolf and his masterful guitarist, Hubert Sumlin.‌ Their collaboration, which began in 1954 and lasted until Wolf’s passing in⁢ 1976, was⁣ pivotal in shaping some of the most unforgettable⁢ and influential sounds in ​American roots music.

Sumlin’s distinctive style-characterized by sharp,economical⁢ fills,a unique ⁣rhythmic flair,and expertly‍ bent notes-was as essential to the blues ⁢classics like Spoonful,Smokestack Lightnin’,Killing Floor,and The Red Rooster as Wolf’s powerful growl.

Influence on Generations⁤ of Musicians

Numerous ‌blues and rock guitarists have drawn inspiration ‍from Sumlin’s work with ⁣Howlin’ Wolf. Jimi Hendrix ‌frequently performed‍ Killing Floor, while ⁤the Rolling Stones, Eric ⁣Clapton, and many others have kept The Red ​Rooster ⁣ alive in their⁤ repertoires. The Doors even reimagined Back door​ Man, and⁤ Stevie ‌Ray ‌Vaughan’s 1991 compilation, The Sky Is Crying, ⁢features ‍his rendition of ‌ May I Have a Talk with⁣ You. ​Renowned guitarists⁤ like Jimmy⁤ Page, Eric ⁣Clapton, and Jeff Beck have all acknowledged Sumlin’s influence, emulating his ‍techniques on tracks like Spoonful and Smokestack Lightnin’.

For 23 years, Sumlin ⁣was the backbone of Howlin’ Wolf’s band, with a brief hiatus in 1956 ‌when he​ played ⁢for ⁢Wolf’s rival, Muddy Waters. Following ⁢Wolf’s death, Sumlin embarked⁢ on‌ a ​long-awaited solo​ career, becoming a staple in Chicago’s ⁢blues scene⁣ and making appearances at various festivals.

Learning from the Master

Did Howlin’ Wolf ⁤give⁢ you specific ⁢instructions on what to play?

Not ‍exactly. when⁤ I first joined him, he told me I wasn’t ready ​for his music‌ and suggested I take some‍ time to reflect-whether it ⁤was ‌a day, a week, or ⁤even a year. “Come back ‌when you’re ready,” he said. “Once you understand how ‌to play my music,then you’re‍ hired.”

Determined, I went home and practiced with ⁣my guitar ​under my pillow, knowing he was serious. ⁢I had been using a pick for ‍years, but one morning I decided to play without it. The first‍ song ⁤that came ‍to mind was​ Smokestack Lightnin’. I​ played ‌it better‌ than ever and realized I didn’t need a pick; my fingers ‌where enough. That ​was a turning point for ⁢me.

You must learn to​ utilize⁣ your instrument to its fullest potential. There are multiple ways to play each note, and you need to explore them all.

Was it the moment​ you stopped using the pick that ⁣everything clicked?

Absolutely. I began to play with⁢ much more feeling. I never‌ used‍ a ​pick again; that was my key to ‌unlocking my⁢ sound. My tone and style evolved right then. Many people ‌don’t grasp ⁤how‌ I play; the average guitarist might not understand my approach.‍ But it’s my unique gift. I have five ⁢fingers-how can a single pick compete with that?

Crafting a ⁣Unique style

Your style⁢ is ⁤notable for‌ its minimal use of chords.

true, but ​I employ a variety of techniques. ‍As Muddy waters once remarked, I have many tricks⁣ up my sleeve. I ⁤know when ​to step in and when to hold back. Many guitarists‌ overlook this aspect of⁤ playing. It’s​ all about knowing how and where to place your notes.

Did your ‍distinctive playing style develop from your long tenure with Howlin’⁣ Wolf?

Yes and no. My brief time⁣ with Muddy ⁢Waters also taught ‌me a lot, especially from his lead guitarist, Jimmy ⁣Rogers. I absorbed ‌something from every guitarist I worked with, taking bits and pieces from each and creating‍ my own style. ⁣That’s the essence of Hubert Sumlin. I encourage ⁤any guitarist to listen to their favorites and learn from everyone.

A Unique Musical Education

One intriguing aspect of your ​background is your formal guitar training ‍at the Chicago Conservatory of Music. How extensive was your education?

I studied‍ for six months ⁢with⁢ an older gentleman from the ​chicago Symphony Orchestra.​ it was the first time I encountered someone who‌ coudl play both opera and blues on the guitar.⁤ It was⁤ enlightening, ‌especially since I didn’t know how to read⁢ music⁢ or understand the ‍piano keyboard.​ He taught‌ me so much in just half a⁢ year.

Even though⁢ you primarily played ​electric⁣ guitar with Wolf, your sound frequently enough carried a country blues essence. Is⁤ that your musical foundation?

As a child, I aspired to ‌be a jazz musician like Charlie Christian, but I was also deeply influenced by the blues. I was surrounded⁣ by amazing ⁢artists like Charley​ Patton,​ Lonnie Johnson, and Robert johnson. When⁤ I joined Wolf and Muddy, I realized⁤ they had ⁤played with these​ legends, ‌which was mind-blowing ‍for ​me.

I still remember my old 78 record of Charley Patton. He‌ was a genius. I once⁣ asked Wolf about him, and he said, “You’re to young to understand.” It⁤ always saddened me that I missed the chance to see and play​ with ⁤those ⁣pioneers, as they laid the groundwork that Wolf and Muddy electrified and⁤ expanded.​ If Wolf and Muddy are the fathers of rock⁣ and ⁣roll, then those acoustic artists are the grandfathers.

Reflections ⁢on Legacy

It seems Wolf was aware ⁣of the generational ‍gap between you two.

Indeed. ⁢He once told me he felt “40 years‍ too early.” he recounted​ stories of plowing mules barefoot in ⁤the snow, and​ I ⁣thought ⁢he‌ was exaggerating. But he insisted he was⁤ serious. He⁢ believed things⁢ were improving all​ the time.‌ The following year, he fell ill and required dialysis.

You are often‍ seen as a bridge between the Delta bluesmen and rock and ‌roll.⁤ You played with Wolf, who was⁢ a ⁢contemporary of Robert johnson, and you also influenced the next generation ‍of ⁣rock guitarists.

I take⁣ great pride in that. I had the chance to meet many of those musicians. I met Eric Clapton in ‍1970 during‍ the recording of ⁣Wolf’s London Sessions. ‌I wasn’t initially supposed to be there, but Clapton ​insisted, saying, “If Hubert’s not there, I won’t record.” Wolf echoed that‌ sentiment, so ⁤they had⁢ to bring me‍ in.

during ​those sessions, Wolf was on dialysis, with doctors attending to ⁣him constantly. There ‌were nights⁢ we didn’t record; we just hung ⁢out and enjoyed ourselves. Mick Jagger and bill wyman ⁤dropped by,and we partied ​until dawn.The next morning,‍ the cleaning lady ‍found ​everyone sprawled out​ on the‍ floor, ​with Mick Jagger’s head inside the bass drum. It was ​a wild ‌time.

Wolf and I had ‍our share ‌of intense ‍arguments.We knocked each⁣ other’s teeth out, but it ⁤never mattered; ‌we always reconciled.

Did you spend much time with Clapton?

Yes, I ⁣did. One day, Eric sent a limousine to pick me up, and we drove ​out to ‌his beautiful mansion ⁤in the ‍countryside. It was like a castle.After a lovely dinner, he took me‍ to his basement, which ​was filled with guitars-like a factory of instruments.

He told ⁢me to choose two guitars as gifts. As I⁢ walked around, I spotted ⁢a case in the middle of the room. ​I asked what was inside, and he ⁣downplayed it, saying, “It’s​ nothing.” I opened it to‌ find a stunning‍ Fender Stratocaster. I started playing it right there on the floor.

he insisted I choose two guitars from ‌the wall,‌ but ⁣I ⁤told ⁤him I couldn’t take his favorite. He urged me⁣ to take it,⁤ saying he’d prefer it ⁢to​ be with someone who would appreciate‍ it. I kept ⁣it for‌ two years but hardly played it.‌ When ​we both attended the Montreux Jazz Festival, I returned it⁤ to him.‍ He asked if I wanted⁢ anything for it, but I said, “It’s your ⁢guitar; don’t embarrass me.” He just ⁢hugged ⁢me. He’s a genuinely ⁢nice guy.

making History with Howlin’ Wolf

Did⁤ you realize you were making ⁣history while recording those classic⁤ tracks ⁣with Wolf?

Not really, and I didn’t care much at the time. ⁤However,‍ I knew he ‍was destined for greatness, and I​ was⁢ committed to⁢ helping him reach the top.

When you’re ⁣recording with someone‌ of Howlin’ Wolf’s caliber, you give⁣ it your⁣ all.There were days when ⁤I recorded ‍on an empty stomach, and⁤ I would remember⁣ those times, fueling my​ desire to never return to⁢ that state. I played with everything I had!

What was your personal relationship with Wolf like?

We had a ​father-son dynamic, despite our fierce arguments. We fought⁣ hard, ⁤but it ⁤never affected our bond.

You fought⁤ with wolf? He ⁤was a massive man.

Oh, he was enormous! He ⁤could ‍wrap his fingers around my guitar neck⁣ multiple ⁤times. ⁢One night after a‌ gig, I‍ was distracted by a girl who had ‍been⁢ flirting with me ⁤all night. When‍ I returned,⁣ Wolf was furious because he had to load my gear. He yelled at me in front of the​ band, and ⁣I⁣ felt humiliated. ⁢I thought, ‘I ⁤can’t let‍ him do⁢ this to me.’ So, ​I hit‍ him in‌ the face, but he barely flinched. He turned slowly and ‍slapped me, sending me rolling down the ⁤ramp. I got back up ‍and yelled at him, onyl to be slapped down​ again, losing some teeth in the process.

Was that why you left to play ​with Muddy Waters?

No, we made​ up quickly.The next morning, my wife told me Wolf had been ⁣waiting in‌ his ‍car outside my house all night. He apologized and even gave me money to fix my mouth. I ⁢left to play with Muddy as he offered me a much higher ⁤salary. They were rivals, and Muddy wanted to ‍lure me away from Wolf.

Was‍ the rivalry between Wolf‍ and Muddy⁢ obvious ⁣to ⁣everyone?

Absolutely. They were always competing and accusing each other of stealing songs. It was a constant battle ‍for supremacy in Chicago.‌ I remember the day they reconciled at the Ann Arbor Blues Festival. They ⁣shook hands and agreed to put their rivalry behind them.⁣ I was thrilled and went to grab a beer.

This ⁤is a business we ​love, and I never ⁣understood the jealousy. It’s music-who cares who’s the best?

Memories of Jimi Hendrix

What are your memories of Jimi Hendrix?

He was⁤ just a ‌young guy ‍living ⁢in England before his band, the experience, became⁢ famous. ⁢We were performing in Liverpool‍ when ⁣he walked ‍in,looking like ⁤a hipster with earrings and a bandanna. ​Wolf was skeptical and​ didn’t want to acknowledge him.

But Hendrix ​approached⁤ Wolf and asked if he could play his guitar. Wolf nodded,and Hendrix picked it up ⁤and played it with ⁤his teeth. Wolf ‌was amazed and exclaimed,‌ “You’re hired!” But Hendrix politely declined, ‍saying he ⁢admired Wolf and the blues.

Howling⁤ Wolf – ⁤live [Colourised] 1964 – YouTube

Hendrix⁣ often cited you as a ‍significant influence. Your guitar work in the Fifties showcased some of the earliest​ uses of distortion. How did you achieve that?

I used my Gibson guitar and ‌a Wabash amp, which had ⁤one of ‌the first ⁢15-inch speakers.I also got an Echoplex ⁤when⁢ it first came out, and that⁣ combination created ⁢the distortion.

What model Gibson did you play?

A ‍Les Paul, probably from ’56. I played‍ it frequently enough. For four years,⁢ Wolf didn’t have a piano or bass-just two guitars and ⁤drums-so Jody Williams and​ I ⁣coordinated our parts closely, both playing Kays. I⁤ wasn’t notably fond of the Les Paul, but I wish ​I had⁣ it now.[[[[laughs]