Complete List Of Paul Butterfield Blues Band Members

Feature Photo: Seattle Public Library, Public domain, via Wikimedia Commons

Paul Butterfield

Paul Butterfield founded the band in summer 1963 and remained its only constant member throughout the entire eight-year existence from 1963 to 1971. Born December 17, 1942, in Chicago’s Hyde Park, Butterfield originally studied classical flute with Walfrid Kujala of the Chicago Symphony Orchestra before discovering his passion for blues harmonica. By age 16, he was frequenting South Side blues clubs and sitting in with legends like Muddy Waters and Howlin’ Wolf, developing his distinctive left-handed, upside-down playing style that would define the band’s sound.

Butterfield appeared on every album the band released, providing lead vocals and fiery harmonica performances that critics praised as revolutionary. His contributions were particularly notable on the groundbreaking East-West album, where his harmonica work helped pioneer the jazz-fusion movement, and on The Resurrection of Pigboy Crabshaw, the band’s highest-charting release at number 52 on the Billboard 200. His ability to identify and recruit exceptional talent kept the band at the forefront of musical innovation even as personnel changed dramatically around him.

After the band dissolved in 1971, Butterfield formed Paul Butterfield’s Better Days, which released two albums before disbanding in 1973. He continued his solo career with albums including Put It in Your Ear (1976), North South (1981), and The Legendary Paul Butterfield Rides Again (1986). His later career included memorable appearances in Martin Scorsese’s The Last Waltz (1976) and collaborations with former members of The Band. Butterfield was posthumously inducted into the Blues Hall of Fame in 2006 and the Rock and Roll Hall of Fame in 2015, cementing his legacy as a pioneer who brought Chicago blues to mainstream rock audiences. He died May 4, 1987, at age 44 from an accidental drug overdose.

Mike Bloomfield

Mike Bloomfield joined the band in early 1965 at producer Paul Rothchild’s suggestion and departed in February 1967 to form the Electric Flag, spending approximately two years with the group. Born July 28, 1943, in Chicago to an affluent North Side Jewish family, Bloomfield frequented South Side blues clubs as a teenager, receiving mentorship from legends like Muddy Waters and developing into one of the most influential guitarists of the 1960s.

During his tenure, Bloomfield appeared on the band’s first two and most critically acclaimed albums, The Paul Butterfield Blues Band (1965) and East-West (1966). He played all the guitar solos on the debut album and was the primary architect of the revolutionary 13-minute “East-West” composition, which introduced modal guitar approaches and Eastern influences that would later influence the entire psychedelic movement. His sophisticated blues-rock guitar work helped elevate the band from local Chicago act to national prominence, with East-West reaching number 65 on the Billboard charts.

Bloomfield’s career outside the band proved equally influential, beginning with his work on Bob Dylan’s seminal Highway 61 Revisited album, including the iconic “Like a Rolling Stone” single. He backed Dylan at the historic 1965 Newport Folk Festival electric performance that shocked the folk community. After leaving Butterfield, he formed the Electric Flag and recorded the landmark Super Session album with Al Kooper in 1968, which became his best-selling release and helped establish the “jam album” genre. Rolling Stone ranked him number 22 on their “100 Greatest Guitarists” list, and he was posthumously inducted into the Blues Hall of Fame in 2012. His use of a 1959 Gibson Les Paul helped revive production of that model, and Gibson later released a Michael Bloomfield signature edition. He died February 15, 1981, at age 37, leaving behind a legacy as one of the most important blues-rock guitarists in history.

Elvin Bishop

Elvin Bishop co-founded the band with Paul Butterfield in 1963 and remained until the end of 1968, serving five years as one of the group’s primary guitarists. Born October 21, 1942, in Glendale, California, and raised on an Oklahoma farm, Bishop met Butterfield at the University of Chicago in 1963 while studying physics on a National Merit Scholarship. His transition from academic life to professional musician exemplified the band’s role in bridging different cultural worlds.

Bishop appeared on all four early albums from 1965 through 1968, initially serving as the band’s only guitarist before Mike Bloomfield’s arrival relegated him to rhythm duties. After Bloomfield’s departure in 1967, Bishop resumed lead guitar responsibilities and contributed original compositions including “Drunk Again” and “Our Love Is Drifting.” His steady presence and versatile guitar work helped maintain continuity during the band’s most successful period, when they achieved their highest chart positions and greatest critical acclaim.

Following his departure in 1968, Bishop moved to San Francisco and formed the Elvin Bishop Group, launching a successful solo career that peaked with his 1976 hit “Fooled Around and Fell in Love,” which reached number 3 on the Billboard Hot 100 and became a enduring classic featured in films like Guardians of the Galaxy. He recorded six albums for Capricorn Records during the 1970s and later signed with Alligator Records, earning multiple Grammy nominations including nods for Elvin Bishop’s Big Fun Trio (2017) and 100 Years of Blues with Charlie Musselwhite (2021). Bishop was inducted into the Rock and Roll Hall of Fame in 2015 and the Blues Hall of Fame in 2016, and continues performing into the 2020s with his Big Fun Trio and collaborations with artists like Los Lobos, Tommy Castro, and Warren Haynes.

Jerome Arnold

Jerome Arnold joined as a founding member in 1963, recruited directly from Howlin’ Wolf’s band, and remained until 1967 before The Resurrection of Pigboy Crabshaw album, serving four years as the band’s anchor bassist. Born November 26, 1936, in Chicago, Arnold was the brother of blues harmonica player Billy Boy Arnold and had previously spent six years playing with Howlin’ Wolf, bringing authentic Chicago blues credentials and professional experience to the young band.

Arnold’s solid bass playing formed the rhythm section foundation with drummer Sam Lay, appearing on the band’s first two albums, The Paul Butterfield Blues Band (1965) and East-West (1966). His blues-based approach provided the steady foundation that allowed guitarists Mike Bloomfield and Elvin Bishop to explore more adventurous territory, while his experience working with Chess Records legends brought invaluable studio professionalism to the group’s early recording sessions.

Before joining Butterfield, Arnold had established himself as a respected sideman in Chicago’s blues scene through his extensive work with Howlin’ Wolf from around 1957, appearing on classic recordings including “Tail Dragger” (1962) and other Chess Records releases. After leaving the Butterfield band, he joined other musicians in backing Bob Dylan’s controversial electric performance at the 1965 Newport Folk Festival, cementing his place in rock history. Arnold later changed his name to Julio Finn and moved to London in 1978, where he collaborated with jazz artists including Archie Shepp and the Art Ensemble of Chicago. He authored The Blues Man: The Musical Heritage of Black Men and Women in the Americas (1986) and continued recording, contributing harmonica to Linton Kwesi Johnson’s Independent Intavenshan (1998). He was inducted into the Rock and Roll Hall of Fame in 2015 alongside his fellow founding members.

Sam Lay

Sam Lay joined as a founding member in 1963, also recruited from Howlin’ Wolf’s band alongside Jerome Arnold, but departed in late 1965 due to illness (pleural effusion), serving approximately two years as the band’s original drummer. Born March 20, 1935, in Birmingham, Alabama, Lay moved to Chicago and worked with Little Walter before spending six years with Howlin’ Wolf, developing his signature “double shuffle” drumming technique inspired by church tambourine rhythms.

Lay appeared only on the band’s debut album The Paul Butterfield Blues Band (1965), where his innovative drumming style provided the rhythmic foundation for the group’s breakthrough sound. His church-influenced “double shuffle” technique became his trademark contribution, and he sang lead vocals on the album’s version of “I Got My Mojo Working,” showcasing his versatility beyond drumming. Despite his brief tenure, his impact on establishing the band’s rhythmic identity proved crucial to their early success.

Lay’s career outside the Butterfield band was legendary, spanning over five decades and earning him induction into three halls of fame. He played on over 40 Chess Records classics and worked extensively with Muddy Waters from 1960-1966, appearing on numerous recordings that defined Chicago blues. He was among the musicians who backed Bob Dylan’s historic electric performance at the 1965 Newport Folk Festival and played on Dylan’s Highway 61 Revisited title track. Lay recorded the solo album Sam Lay in Bluesland (1969) and later collaborated with the Siegel-Schwall Band on two Alligator Records releases. He was inducted into the Jazz Hall of Fame (1992), Blues Hall of Fame (2018), and Rock and Roll Hall of Fame (2015), becoming one of the few musicians to achieve the rare triple induction. Lay also contributed to music history by shooting rare silent films of 1960s Chicago blues clubs featuring Howlin’ Wolf and Little Walter. He continued performing until his death on January 29, 2022, at age 86.

Mark Naftalin

Mark Naftalin joined in September 1965 during the debut album recording sessions and remained until the end of 1968, contributing three and a half years as the band’s primary keyboardist. Born August 2, 1944, in Minneapolis, Naftalin moved to Chicago in 1961 and graduated from the University of Chicago in 1964, where he met Butterfield and Bishop at campus parties. His classical training and sophisticated harmonic knowledge brought new dimensions to the band’s evolving sound.

Naftalin appeared on all four early albums from 1965 through 1968, contributing keyboards, organ, and piano arrangements that helped bridge the gap between traditional blues and more complex musical forms. He contributed the original composition “Thank You Mr. Poobah” to the debut album and his classical background enabled the more adventurous harmonic explorations heard on East-West and subsequent releases. His versatile keyboard work proved particularly important as the band expanded beyond its original blues focus into jazz and rock territories.

After leaving the band in 1968, Naftalin moved to the San Francisco Bay Area and became one of the most multifaceted figures in American music. He worked extensively with Mike Bloomfield throughout the 1970s and recorded on over 100 albums with legends including John Lee Hooker, Otis Rush, Percy Mayfield, Van Morrison, and James Cotton. His session work included playing piano on Brewer & Shipley’s top-ten hit “One Toke Over The Line” and keyboards on Van Morrison’s St. Domenic’s Preview. Naftalin founded Winner Records in 1988 and produced numerous blues artists while becoming a respected radio broadcaster, hosting shows including “Mark Naftalin’s Blue Monday Party” and “Blues Power Hour,” earning Billboard and Tom Donahue Radio Awards. He created and produced the Marin County Blues Festival from 1981-2000 and continues hosting “The Mark Naftalin Show” on WPKN-FM Connecticut. He was inducted into the Rock and Roll Hall of Fame in 2015 and remains active in performing and recording.

Billy Davenport

Billy Davenport joined in late December 1965, replacing the ailing Sam Lay, and remained until 1967 before The Resurrection of Pigboy Crabshaw album, serving approximately one year as drummer during a crucial transitional period. Born April 23, 1931, in Chicago, Davenport brought jazz influences from his background studying with masters like Gene Krupa, Max Roach, and Charlie Parker, representing a shift toward more sophisticated rhythmic approaches in the band’s evolution.

Davenport appeared only on the East-West album (1966), but his contributions proved pivotal to the band’s most experimental and influential recording. His jazz background enabled the extended improvisational passages that made the 13-minute title track possible, with his sophisticated drumming providing the rhythmic foundation for the band’s pioneering fusion of blues, rock, and Eastern musical elements. His ability to support long-form improvisation helped distinguish East-West from typical blues albums and contributed to its lasting influence on psychedelic and progressive rock.

Davenport’s career outside the Butterfield band reflected his jazz orientation, though specific details about his later work remain less documented than other band members. His jazz credentials and the advanced rhythmic concepts he brought to East-West demonstrated the band’s commitment to musical growth and willingness to incorporate diverse influences. Despite his relatively brief tenure and single album appearance, his contributions were deemed significant enough for posthumous induction into the Rock and Roll Hall of Fame in 2015. He died December 24, 1999, but his innovative drumming on East-West continues to influence musicians exploring the boundaries between blues, jazz, and rock music.

David Sanborn

David Sanborn joined in mid-1967 after Mike Bloomfield’s departure and remained until the band’s dissolution in 1971, serving four years as the lead voice in the expanded horn section that defined the band’s later sound. Born July 30, 1945, in Tampa, Florida, Sanborn took up saxophone at age 11 as therapy for polio, developing into one of the most distinctive saxophonists in popular music. He had already gained experience playing with blues legends Albert King and Little Milton as a teenager.

Sanborn appeared on five albums: The Resurrection of Pigboy Crabshaw (1967), In My Own Dream (1968), Keep On Moving (1969), Live (1970), and Sometimes I Just Feel Like Smilin’ (1971). His alto, soprano, and baritone saxophone work became central to the band’s evolution from Chicago blues into what critics described as “big-band Chicago blues with jazz base.” His featured solos and arrangements helped the band achieve their highest chart position with The Resurrection of Pigboy Crabshaw at number 52, and his contributions to historic performances at Monterey Pop Festival (1967) and Woodstock (1969) showcased his growing prominence in the group.

Sanborn’s post-Butterfield career became one of the most successful in contemporary music, earning six Grammy Awards and establishing him as a smooth jazz pioneer despite his personal dislike of that label. He released over 25 albums with eight achieving gold status and one platinum, while his session work included iconic contributions to David Bowie’s Young Americans, Stevie Wonder’s Talking Book, Bruce Springsteen’s recordings, and albums by the Rolling Stones, Aretha Franklin, and James Taylor. He became a member of the Saturday Night Live band in 1980, co-hosted “Night Music” with Jools Holland from 1988-89, and hosted the syndicated radio show “The Jazz Show with David Sanborn.” His film soundtrack work included music for the Lethal Weapon series, and he received the first Steward Center Lifetime Achievement Award in 2024. Sanborn died May 12, 2024, at age 78 from complications of prostate cancer, leaving behind a legacy as one of the most commercially successful American saxophonists in history.

Gene Dinwiddie

Gene Dinwiddie joined in mid-1967 alongside David Sanborn as part of the horn section expansion and remained until the band’s dissolution in 1971, serving four years as a versatile multi-instrumentalist. Born September 19, 1936, in Louisville, Kentucky, and often billed as “Brother Gene Dinwiddie,” he was the oldest member of the band and served as an unofficial leader, bringing professional experience from his previous work with the James Cotton Blues Band.

Dinwiddie appeared on the same five albums as Sanborn: The Resurrection of Pigboy Crabshaw (1967), In My Own Dream (1968), Keep On Moving (1969), Live (1970), and Sometimes I Just Feel Like Smilin’ (1971). He contributed tenor saxophone, flute, mandolin, tambourine, vocals, and arrangements, demonstrating remarkable versatility that helped define the band’s expanded sound. His lead vocals on “Love March” during the Woodstock performance showcased his additional talents beyond instrumental work, and his arrangement contributions helped shape the sophisticated horn charts that characterized the band’s later period.

After the band’s dissolution, Dinwiddie co-founded Full Moon, a jazz-rock fusion band featuring other former Butterfield members, and continued his career as a sought-after session musician. He recorded with B.B. King, Melissa Manchester, Jackie Lomax, and Gregg Allman, bringing his versatile saxophone and arrangement skills to diverse projects. His session work extended into the 1990s, including contributions to Etta James’ Stickin’ to My Guns album. Dinwiddie’s professional experience and multi-instrumental abilities made him invaluable during the band’s transformation from blues group to sophisticated ensemble, though his contributions often remained behind the scenes. He died January 11, 2002, in La Puente, California, having maintained an active career in session work and collaboration with blues and soul artists for over three decades following the Butterfield band’s dissolution.

Keith Johnson

Keith Johnson joined in 1967 as part of the horn section expansion and remained until 1970, when he left to join Elephant’s Memory, serving three years as the band’s primary trumpeter during their most ambitious period. Born in Oregon and standing 6’5″ tall, Johnson brought jazz training and experience to the band’s evolving sound, along with his ability to double on organ when not playing trumpet.

Johnson appeared on four albums: The Resurrection of Pigboy Crabshaw (1967), In My Own Dream (1968), Keep On Moving (1969), and Live (1970). His trumpet work became an essential component of the five-piece horn section that defined the band’s later sound, contributing to the sophisticated arrangements that helped The Resurrection of Pigboy Crabshaw become their highest-charting album. His jazz background enabled the extended improvisational passages that characterized the band’s live performances, and his occasional organ contributions provided additional textural variety when the full horn section wasn’t required.

Johnson’s career after leaving the Butterfield band demonstrated his versatility across multiple genres and formats. He joined the New York “street” band Elephant’s Memory and contributed session work to Van Morrison’s His Band and the Street Choir, including arranging horn charts for Van Morrison’s hit “Domino.” His most significant long-term collaboration was serving as musical director for blues legend Etta James from 1975 to 1983, demonstrating his ability to lead and arrange for major artists. Johnson also worked as a jazz radio DJ for station KFMY in Eugene, Oregon, showcasing his broadcasting skills alongside his musical talents. He married Martha Velez, whose brother Jerry Velez played with Jimi Hendrix at Woodstock, connecting him to other significant figures in 1960s music. Johnson died May 27, 2021, from cancer in Eugene, Oregon, having maintained an active career in music arrangement, session work, and artist direction for over five decades.

Buzzy Feiten

Buzzy Feiten joined in late 1968 or early 1969, replacing Elvin Bishop as lead guitarist, and remained until 1970, serving approximately two years during the band’s transition to horn-driven arrangements. Born November 4, 1948, in Huntington Station, New York, Feiten was a child prodigy who studied French horn at the prestigious Mannes College of Music in New York, bringing classical training and technical precision to the band’s evolving sound.

Feiten appeared on Keep On Moving (1969) and Live (1970), contributing lead guitar, organ, and even French horn on some tracks. At age 21, he was the youngest member when the band performed their early Monday morning set at Woodstock, where his homemade amplifier decorated with a Road Runner decal became a memorable visual element. His technical proficiency and classical background helped the band navigate increasingly complex arrangements while maintaining their blues foundation, and his versatility across multiple instruments proved valuable as the group expanded their sonic palette.

After leaving the Butterfield band in 1970, Feiten joined The Rascals for their final two albums, Peaceful World and Island of Real (1970-71), before launching an extensive career as one of the music industry’s most sought-after session players. His session work included collaborations with Stevie Wonder, Paul Simon, and James Taylor, demonstrating his adaptability across genres. Feiten’s most significant innovation came through his invention of the “Buzz Feiten Tuning System,” a patented guitar tuning method that addresses inherent intonation problems in traditional guitar tuning. He founded Buzz Feiten Guitar Research and manufactured solid-body guitars incorporating his tuning system, earning recognition as both performer and inventor. His 1972 album Full Moon, recorded with other former Butterfield members, represented an early example of the jazz-rock fusion movement that would influence musicians throughout the 1970s.

Trevor Lawrence

Trevor Lawrence joined in summer 1969 as the third saxophonist in the expanded horn section and remained until the band’s dissolution in 1971, serving two years as baritone saxophonist during the group’s most ambitious ensemble period. Lawrence brought extensive session experience from his work at New York’s Hit Factory studio and connections through producer Jerry Ragovoy, who played a key role in the band’s later recordings.

Lawrence appeared on Keep On Moving (1969), Live (1970), and Sometimes I Just Feel Like Smilin’ (1971), contributing baritone and tenor saxophone to the five-piece horn section that characterized the band’s final phase. His session experience proved valuable in the studio, where his professional approach helped the band navigate increasingly complex arrangements and production challenges. His contributions to the live album captured at The Troubadour demonstrated his ability to excel in both studio and concert settings, adapting to the band’s evolution from intimate blues club performances to major venue presentations.

Lawrence’s post-Butterfield career became one of the most successful among band alumni, establishing him as a first-call session musician for major artists across multiple genres. His extensive session work included collaborations with the Rolling Stones, Marvin Gaye, Stevie Wonder, and B.B. King, demonstrating his versatility and professional reliability. He co-produced and arranged the Pointer Sisters’ So Excited! album in 1982 and contributed arrangements to Etta James recordings, showcasing his skills beyond performance. Lawrence’s family connections to the music industry continued through his son, Trevor Lawrence Jr., who became a session musician and producer under Dr. Dre’s Aftermath Entertainment. He married Lynda Laurence of The Supremes, further cementing his connections to soul and R&B music. His career longevity and consistent high-level session work established him as one of the most successful horn players to emerge from the blues-rock movement of the late 1960s.

Steve Madaio

Steve Madaio joined in early 1969 as the second trumpeter in the expanded horn section and remained until the band’s dissolution in 1971, serving approximately two years during the group’s most ensemble-oriented period. Born July 18, 1948, in Brooklyn, New York, Madaio studied at Mannes College of Music alongside Buzzy Feiten, creating a connection that led to his recruitment into the band when Feiten recommended him to Paul Butterfield.

Madaio appeared on Keep On Moving (1969), Live (1970), and Sometimes I Just Feel Like Smilin’ (1971), contributing trumpet and percussion to the sophisticated horn arrangements that defined the band’s final phase. His classical training from Mannes College provided the technical foundation for the complex ensemble work, while his ability to adapt to blues and rock contexts helped bridge the gap between the band’s Chicago blues origins and their jazz-influenced evolution. His contributions to both the Monterey Pop Festival (1967) and Woodstock (1969) performances made him one of the few musicians to appear at both legendary events.

Madaio’s career outside the Butterfield band established him as one of the most prolific session musicians in popular music, with over 150 recording credits spanning five decades. His most significant collaboration was with Stevie Wonder during Wonder’s most creative period from 1971-1976, contributing to classic albums that helped define the sound of 1970s soul and R&B. His session work extended to collaborations with John Lennon (Walls and Bridges), Bob Dylan (Street Legal), the Rolling Stones, B.B. King, Rod Stewart, and Bonnie Raitt, demonstrating remarkable versatility across genres. Madaio’s trumpet work became particularly recognizable in the horn-driven arrangements that characterized much of 1970s popular music, and his reliability as a session player made him a first-call musician for major recording projects. He died January 22, 2019, at age 70 from a heart attack in Palm Desert, California, having maintained an active recording and touring career that spanned over 50 years and influenced the sound of countless hit recordings.

Additional Later Members

Several other musicians contributed to the Paul Butterfield Blues Band during its evolution and final years. Bugsy Maugh served as bassist from 1967-1971, replacing Jerome Arnold and appearing on multiple albums including The Resurrection of Pigboy Crabshaw. Phil Wilson played drums from 1967-1969, bridging the gap between Billy Davenport’s departure and the arrival of later drummers. Rod Hicks joined as bassist and guitarist with vocal contributions from 1968-1971, appearing on several of the band’s final recordings. Teddy Harris contributed keyboards and piano from 1968-1970, bringing Detroit-based arrangement skills to the band’s evolving sound before becoming musical director for The Supremes for 16 years. Ralph Wash served as guitarist and vocalist from 1970-1971, appearing on the band’s final recordings. Dennis Whitted played drums during 1971, contributing to the band’s last album Sometimes I Just Feel Like Smilin’. Bobby Hall and Big Black both played congas on the final album, representing the band’s continued expansion of their rhythmic palette until their dissolution in 1971.

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