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Paul Haeberlin (February 17, 1878, Kesswil – September 29, 1960, Basel) was a Swiss philosopher who at different times in his career took the standpoint that either religion or theoretical knowledge was the answer to human problems. He always gave philosophy an important role, but religion was to him the only way man could understand his real position in existence. Haeberlin made contributions to characterology and psychotherapeutics, and was especially successful in treating psychopathic youth and teens. Made a full professor of philosophy, psychology and pedagogics at the University of Basel.

Principle Works[link]

Psychology[link]

• Der Leib und die Seele (1923)
• Der Geist und die Triebe: Eine Elementarpsychologie (1924)
• Der Charakter (1925)
• Leitfaden der Psychologie (1937)

Pedagogy[link]

• Das Ziel der Erziehung (1923)
• Möglichkeit und Grenzen der Erziehung: Eine Darstellung der pädagogischen Situation (1936)
• Allgemeine Pädagogik (1940)

Philosophy[link]

• Das Gute (1926)
• Das Geheimnis der Wirklichkeit (1927)
• Allgemeine Ästhetik (1929)
• Das Wunderbare (1930)
• Das Wesen der Philosophie: Eine Einführung (1934)
• Naturphilosophische Betrachtungen I: Einheit und Vielheit (1939)
• Naturphilosophische Betrachtungen II: Sein und Werden (1940)
• Der Mensch: Eine philosophische Anthropologie (1941)
• Logik im Grundriss (1947)
• Philosophia Perennis: Eine Zusammenfassung (1952)

Theology[link]

• Das Evangelium und die Theologie (1956)

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Friedrich Dürrenmatt
Dürrenmatt in 1989.
Born	(1921-01-05)5 January 1921 Konolfingen, Switzerland
Died	14 December 1990(1990-12-14) (aged 69) Neuchâtel, Switzerland
Occupation	Playwright, novelist
Language	German
Nationality	Swiss
Notable work(s)	The Physicists The Visit

Friedrich Dürrenmatt (German pronunciation: [ˈfriːdrɪç ˈdʏrənˌmat] (5 January 1921 – 14 December 1990) was a Swiss author and dramatist. He was a proponent of epic theatre^{[citation needed]} whose plays reflected the recent experiences of World War II. The politically active author's work included avant-garde dramas, philosophically deep crime novels, and often macabre satire. Dürrenmatt was a member of the Gruppe Olten.

Biography[link]

Dürrenmatt was born in Konolfingen, in the Emmental (canton of Bern), the son of a Protestant pastor. His grandfather, Ulrich Dürrenmatt, was a conservative politician. The family moved to Bern in 1935. Dürrenmatt began studies in philosophy and German language and literature at the University of Zurich in 1941, but moved to the University of Bern after one semester. In 1943, he decided to become an author and dramatist and dropped his academic career. In 1945–46, he wrote his first play It is Written. On 11 October 1946, he married the actress Lotti Geissler. She died on 16 January 1983, and Dürrenmatt married again in 1984 to another actress, Charlotte Kerr.

Dürrenmatt also enjoyed painting. Some of his own works and his drawings were exhibited in Neuchâtel in 1976 and 1985, as well as in Zurich in 1978.

Later life[link]

View above the Centre Dürrenmatt at the Lake Neuchâtel.

In 1990, he gave two famous speeches, one in honour of Václav Havel (Die Schweiz, ein Gefängnis? / Switzerland a prison?), and the other in honour of Mikhail Gorbachev (Kants Hoffnung / Kant's Hope). Dürrenmatt often compared the three Abrahamic religions and Marxism, which he also saw as a religion.

Even if there are several parallels between Dürrenmatt and Brecht, Dürrenmatt never took a political position, but represented a pragmatic philosophy of life. In 1969, he traveled in the USA, in 1974 to Israel, and in 1990 to Auschwitz in Poland.

Dürrenmatt died from heart failure^[1] on 14 December 1990 in Neuchâtel.

Selected bibliography[link]

• Es steht geschrieben (1947)
• Der Blinde (1947)
• Romulus the Great: An Ahistorical Historical Comedy in Four Acts (Romulus der Große, 1950, play)
• The Judge and His Hangman (Der Richter und sein Henker, 1950; novella)
• Suspicion (Der Verdacht, 1951, also known as The Quarry)
• "The Tunnel" ("Der Tunnel", 1952; short story)
• The Marriage of Mr. Mississippi (Die Ehe des Herrn Mississippi, 1952, play)
• "Theatre Problems" ("Theaterprobleme", 1954, essay)
• Once a Greek (Grieche sucht Griechin, 1955, novel)
• The Visit (Der Besuch der alten Dame, 1956, play)
• A Dangerous Game (Die Panne, 1956, novel / novella, also known as Traps^[2])
• The Pledge: Requiem for the Detective Novel (Das Versprechen: Requiem auf den Kriminalroman, 1958, novella)
• The Physicists: A Comedy in Two Acts (Die Physiker, 1962, play)
• Der Meteor (1966)
• Play Strindberg (1969, play)
• "Monster Lecture on Justice and Law, with a Helvetian Interlude" ("Monstervortrag", 1969, lecture)
• "The Coup" ("Der Sturz", 1971, short story)
• Achterloo (1982)
• The Execution of Justice (Justiz, 1985)
• The Assignment (Der Auftrag, 1986, novella)
• "Switzerland—A Prison: A Speech for Vaclav Havel" ("Die Schweiz—ein Gefängnis. Rede auf Vaclav Havel", 1990, speech)

Dürrenmatt's stories in film[link]

• It Happened in Broad Daylight (1958), with a TV version made in 1997
• The Marriage of Mr. Mississippi (1961)
• The Visit (1964, Der Besuch der alten Dame)
• Once a Greek (1966, Grieche sucht Griechin)
• Der Meteor (1968)^[3]
• Play Strindberg (1969), based on Strindberg's The Dance of Death
• Shantata! Court Chalu Aahe (Silence! The Court Is in Session)(1971), based on 'Die Panne' (Traps)^[4]
• La più bella serata della mia vita (1972, by Ettore Scola, based on 'La Panne')
• Авария (The Breakdown, based on 'Die Panne') (1974, in Russian)
• End of the Game (1976), based on The Judge and His Hangman, and in which Dürrenmatt himself appears in two scenes
• Deadly Games (1982, Trapp)
• Cumartesi Cumartesi (1984, Salam, stories in film)
• Физики (The Physicists) (1988, in Russian)
• Визит дамы (The Visit of the Lady) (1989, in Russian)
• Szürkület (Twilight) (1990, by György Fehér) based on the Es geschah am hellichten Tag movie script
• Hyènes (1992), adaptation of The Visit by the Senegalese moviemaker Djibril Diop Mambéty
• Justiz (1993)
• The Pledge (2001), based on the novel Das Versprechen, which is in turn based on the Es geschah am hellichten Tag movie script

Adaptations[link]

His story, 'Die Panne' (Traps) was adapted into a Marathi play, Shantata! Court Chalu Aahe (Silence! The Court Is in Session) by Indian playwright, Vijay Tendulkar in 1967, and since then been performed in various Indian languages, and made into a film by the same name by Satyadev Dubey.

His play 'The Visit' has been adapted and Indianised into a play called "Miss.Meena" by Chennai based theatre group called 'perch'.

References[link]

• Everett M. Ellestad, 'Friedrich Dürrenmatt's "Mausefalle" ("Mouse Trap"),' German Quarterly, 43, 4, 770–779, Nov. 1970.
• Gerhard P. Knapp, "Friedrich Dürrenmatt: Studien zu seinem Werk," Poesie und Wissenschaft, XXXIII, Lothar Stiehm Verlag, Heidelberg, 1976.
• Centre Dürrenmatt Neuchâtel
• National Library Switzerland

External links[link]

Wikiquote has a collection of quotations related to: Friedrich Dürrenmatt

• Friedrich Dürrenmatt home page sponsored by the University of Chicago Press. Includes a 1969 interview with Dürrenmatt, his story "Smithy" and essay "Automobile and Railroad Nations," and essays on Dürrenmatt.
• Radio drama by Friedrich Dürrenmatt
• Friedrich Dürrenmatt at the Internet Movie Database

Paul Burkhard ((1911-12-21)21 December 1911 in Zürich - 6 September 1977(1977-09-06) in Zell) was Swiss composer. He wrote primarily Oratoria, Musicals and Operettas.

His probably most famous artistic creation was the song Oh mein Papa (Oh my Papa), about the death of a beloved clown-father, written for the musical "Der Schwarze Hecht" (re-issued in 1950 as "Feuerwerk") that premiered in April 1939. The song rose to #1 on the Sheet Music Chart and stayed in the chart for 26 weeks. The song has been performed and recorded by numerous artists since then, including Alan Breeze, Annette Klooger, Billy Cotton, Billy Vaughn, Connie Francis, Diana Decker, Eddie Calvert, Eddie Fisher, The Everly Brothers, Harry James, Ken Mackintosh, Lys Assia, Malcolm Vaughan, Muriel Smith, Ray Anthony & his Orchestra, Russ Morgan & his Orchestra, The Beverley Sisters, The Brasshats, The Radio Revellers, and many others.

Works (Selection)[link]

• 1935 - Hopsa
• 1950 - Feuerwerk (Original: Der schwarze Hecht, 1939) with the hit song O mein Papa
• 1951 - Die kleine Niederdorf-Oper
• 1960 - Frank V - Comedy with Musik; „Oper einer Privatbank“, by Friedrich Dürrenmatt
• 1960 - Zäller Weihnacht - Christmas play
• 1965 - Noah - The story of Noah and the Arc - for children
• 1971 - Zäller Oschtere - Easter passion play

Literature[link]

Flury, Philipp; Kaufmann, Peter (1979) (in German). O mein Papa… Paul Burkhard: Leben und Werk. Zürich: Orell Füssli/Neue Schweizer Bibliothek. ISBN 3-280-01129-9. OCLC 6787865. 

External links[link]

• Paul Burkhard in the German National Library catalogue (German)
• Paul Burkhard in German, French and Italian in the online Historical Dictionary of Switzerland.
• O mein Papa - Documentary film about Paul Burkhard - launch September 2007

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Les Paul
Les Paul playing a Gibson Les Paul in a live show at Iridium Jazz Club in New York City, 2008.
Background information
Birth name	Lester William Polsfuss[1]
Born	(1915-06-09)June 9, 1915 Waukesha, Wisconsin, United States
Died	August 13, 2009(2009-08-13) (aged 94) White Plains, New York, United States[2]
Genres	Jazz, country, blues, rock and roll
Occupations	Innovator, Inventor, Musician, Songwriter
Instruments	Guitar, Banjo, Harmonica
Years active	1928–2009
Website	lespaulfoundation.org
Notable instruments
Gibson Les Paul

Lester William Polsfuss (June 9, 1915 – August 13, 2009)^[3][4][5]—known as Les Paul—was an American jazz and country guitarist, songwriter and inventor. He was the inventor of the solid-body electric guitar which made the sound of rock and roll possible.^[6] He is credited with many recording innovations. Although he was not the first to use the technique, his early experiments with overdubbing (also known as sound on sound),^[7] delay effects such as tape delay, phasing effects and multitrack recording were among the first to attract widespread attention.^[8]

His innovative talents extended into his playing style, including licks, trills, chording sequences, fretting techniques and timing, which set him apart from his contemporaries and inspired many guitarists of the present day.^{[9][10][11][12]} He recorded with his wife Mary Ford in the 1950s, and they sold millions of records.

Among his many honors, Paul is one of a handful of artists with a permanent, stand-alone exhibit in the Rock and Roll Hall of Fame.^[13] He is prominently named by the music museum on its website as an "architect" and a "key inductee" along with Sam Phillips and Alan Freed.^[14]

Biography[link]

Early life[link]

Les Paul was born Lester William Polsfuss outside Milwaukee, in Waukesha, Wisconsin, to George and Evelyn (1888–1989) (née Stutz) Polsfus. His family was of German ancestry.^[15] Paul's mother was related to the founders of Milwaukee's Valentin Blatz Brewing Company and the makers of the Stutz automobile.^[16] His parents divorced when he was a child.^[17] The Prussian family name was first simplified by his mother to Polfuss before he took his stage name of Les Paul. He also used the nicknames Red Hot Red^[18] and Rhubarb Red.^[19]

While living in Wisconsin, he first became interested in music at age eight when he began playing the harmonica. After an attempt at learning the banjo, he began to play the guitar. It was during this time that he invented a neck-worn harmonica holder, which allowed him to play the harmonica hands-free while accompanying himself on the guitar. Paul's device is still manufactured using his basic design.^[20] By age thirteen, Paul was performing semi-professionally as a country-music singer, guitarist and harmonica player. While playing at the Waukesha area drive-ins and roadhouses, Paul began his first experiment with sound. Wanting to make himself heard by more people at the local venues, he wired a phonograph needle to a radio speaker, using that to amplify his acoustic guitar.^[21] At age seventeen, Paul played with Rube Tronson's Texas Cowboys, and soon after he dropped out of high school to join Wolverton's Radio Band in St. Louis, Missouri, on KMOX.

Early career[link]

Paul migrated to Chicago in 1934, where he continued to perform on radio, and met pianist Art Tatum, whose playing influenced him to a career devoted to guitar rather than original plans of taking on the piano. ^[22] His first two records were released in 1936. One was credited to "Rhubarb Red", Paul's hillbilly alter ego, and the other was as an accompanist for blues-artist Georgia White. It was during this time that he began playing jazz and adopted his stage name.^[23]

Paul's jazz-guitar style was strongly influenced by the music of Django Reinhardt, whom he greatly admired. Following World War II, Paul sought out and befriended Reinhardt. After Reinhardt's death in 1953, Paul furnished his headstone.^{[citation needed]} One of Paul's prize possessions was a Selmer Maccaferri acoustic guitar given to him by Reinhardt's widow.^[18]

Paul formed a trio in 1937 with singer/rhythm guitarist Jim Atkins^[24] (older half-brother of guitarist Chet Atkins) and bassist/percussionist Ernie "Darius" Newton. They left Chicago for New York in 1939, landing a featured spot with Fred Waring's Pennsylvanians radio show. Chet Atkins later wrote that his brother, home on a family visit, presented the younger Atkins with an expensive Gibson archtop guitar that had been given to Jim Atkins by Les Paul. Chet recalled that it was the first professional-quality instrument he ever owned.^[25]

Paul was dissatisfied with acoustic-electric guitars and began experimenting at his apartment in Queens, NY with a few designs of his own. Famously, he created several versions of "The Log", which was nothing more than a length of common 4x4 lumber with a bridge, guitar neck and pickup attached. For the sake of appearance, he attached the body of an Epiphone hollow-body guitar, sawn lengthwise with The Log in the middle. This solved his two main problems: feedback, as the acoustic body no longer resonated with the amplified sound, and sustain, as the energy of the strings was not dissipated in generating sound through the guitar body. These instruments were constantly being improved and modified over the years, and Paul continued to use them in his recordings long after the development of his eponymous Gibson model. In 1945, Richard D. Bourgerie made an electric guitar pickup and amplifier for professional guitar player George Barnes. Bourgerie worked through World War II at Howard Radio Company making electronic equipment for the American military. Barnes showed the result to Les Paul, who then arranged for Bourgerie to have one made for him.

While experimenting in his apartment in 1940, Paul nearly succumbed to electrocution. During two years of recuperation, he relocated to Hollywood, supporting himself by producing radio music and forming a new trio. He was drafted into the US Army shortly after the beginning of World War II, where he served in the Armed Forces Network, backing such artists as Bing Crosby, the Andrews Sisters, and performing in his own right.^[26]

Les Paul, ca. January 1947 (Photograph by William P. Gottlieb)

As a last-minute replacement for Oscar Moore, Paul played with Nat King Cole and other artists in the inaugural Jazz at the Philharmonic concert in Los Angeles, California, on July 2, 1944. The recording, still available as Jazz at the Philharmonic- the first concert- shows Paul at the top of his game, both in his solid four to the bar comping in the style of Freddie Green and for the originality of his solo lines. Paul's solo on 'Blues' is an astonishing tour de force and represents a memorable contest between himself and Nat 'King' Cole. Much later in his career, Paul declared that he had been the victor and that this had been conceded by Cole.^{[citation needed]} His solo on Body and Soul is a fine demonstration both of his admiration for and emulation of the playing of Django Reinhardt, as well as his development of some very original lines.

Also that year, Paul's trio appeared on Bing Crosby's radio show. Crosby went on to sponsor Paul's recording experiments. The two also recorded together several times, including a 1945 number-one hit, "It's Been a Long, Long Time." In addition to backing Crosby, The Andrews Sisters and other artists, Paul's trio also recorded a few albums of their own on the Decca label in the late 1940s. Paul was particularly enamored by the famous Andrews Sisters, who hired The Les Paul Trio as their opening act while they toured in 1946. Lou Levy, the sisters' manager and a music publishing giant of the big band era and beyond, once said, "Watching his fingers work was like watching a locomotive go."^[27] The trio's longtime conductor, Vic Schoen, said of Les, "You could always count on him to come up with something no one else had thought of,"^[28] while Maxene Andrews once remembered, "It was wonderful having him perform with us. He'd tune into the passages we were singing and lightly play the melody, sometimes in harmony. We'd sing these fancy licks and he'd keep up with us note for note in exactly the same rhythm...almost contributing a fourth voice. But he never once took the attention away from what we were doing. He did everything he could to make us sound better."^[29] Two Decca recordings from 1946 pairing Paul with The Andrews Sisters ("Rumors Are Flying" and "It's a Pity to Say Goodnight") exist today to well affirm such comments. Paul's many hits with wife Mary Ford recording her vocals in triplicate in the 1950s produced a sound eerily similar to the harmonious blend of The Andrews Sisters.^[30] As Les Paul biographer Mary Alice Shaughnessy noted of Paul's association with The Andrews Sisters, "Les welcomed the opportunity to study them in full flight."^[31]

In January 1948, Paul shattered his right arm and elbow in a near-fatal automobile accident on an icy Route 66 just west of Davenport, Oklahoma. Mary Ford was driving the Buick convertible, which rolled several times down a creekbed; they were on their way back from Wisconsin to Los Angeles after performing at the opening of a restaurant owned by Paul's father. Doctors at Oklahoma City's Wesley Presbyterian Hospital told him that they could not rebuild his elbow so that he would regain movement; his arm would remain permanently in whatever position they placed it in. Their other option was amputation. Paul instructed surgeons, brought in from Los Angeles, to set his arm at an angle—just under 90 degrees—that would allow him to cradle and pick the guitar. It took him nearly a year and a half to recover.^[32]

Guitar builder[link]

The Gibson Les Paul, one of the world's most popular electric guitars, was named after the man who invented it.

Paul's innovative guitar, "The Log", built after-hours in the Epiphone guitar factory in 1940, a 4" × 4" chunk of pine with strings and a pickup, was one of the first solid-body electric guitars.^[33][34] Paul Tutmarc of Audiovox Manufacturing Co. built a solid body electric bass in 1935 and Adolph Rickenbacker had marketed a solid-body guitar in the 1930s and Paul A. Bigsby had built one for Merle Travis in 1948 and Leo Fender also independently created his own (the Fender "Broadcaster" later changed to "Esquire" for copyright reasons, a single pickup model) in 1948. Although Paul approached the Gibson Guitar Corporation with his idea of a solid body electric guitar, they showed no interest until Fender began marketing its Esquire which later had a second pick-up added and became known as the Telecaster.

The arrangement persisted until 1961, when declining sales prompted Gibson to change the design without Paul's knowledge, creating a much thinner, lighter and more aggressive-looking instrument with two cutaway "horns" instead of one. Paul said he first saw the "new" Gibson Les Paul in a music-store window, and disliked it. Although his contract required him to pose with the guitar, he said it was not "his" instrument and asked Gibson to remove his name from the headstock. Others claimed that Paul ended his endorsement contract with Gibson during his divorce to avoid having his wife get his endorsement money.^[35] Gibson renamed the guitar "Gibson SG", which stands for "Solid Guitar", and it also became one of the company's best sellers.

The original Gibson Les Paul-guitar design regained popularity when Eric Clapton began playing the instrument a few years later, although he also played an SG and an ES-335. Paul resumed his relationship with Gibson and endorsed the original Gibson Les Paul guitar from that point onwards^{[citation needed]}. His personal Gibson Les Pauls were much modified by him—Paul always used his own self-wound pickups and customized methods of switching between pickups on his guitars^{[citation needed]}. To this day, various models of Gibson Les Paul guitars are used all over the world by both novice and professional guitarists. A less-expensive version of the Gibson Les Paul guitar is also manufactured for Gibson's lower-priced Epiphone brand.^[36]

On January 30, 1962, the US Patent and Trademark Office issued Paul a patent, Patent No. 3,018,680, for an "Electrical Music Instrument."^[37]

Multitrack-recording innovations[link]

Paul had never been happy with the way his records sounded. During a post-recording session talk with Bing Crosby, the crooner suggested Paul try building his own recording studio so he might be able to get the sound he wanted. At first Paul discounted the idea only to give it a few more minutes thought before deciding Crosby was right. Paul started his own studio in the garage of his home on Hollywood's North Curson Street. The studio drew many other famous vocalists and musicians who wanted the benefit of Paul's expertise. The home and studio are still standing, but both had been moved to Pasadena at some point after Paul no longer owned the home.^[38]

In 1948, Les Paul was given one of the first Ampex Model 200A reel-to-reel audio tape recording decks by Crosby and went on to use Ampex's eight track "Sel-Sync" machines for Multitrack recording. Capitol Records released a recording that had begun as an experiment in Paul's garage, entitled "Lover (When You're Near Me)", which featured Paul playing eight different parts on electric guitar, some of them recorded at half-speed, hence "double-fast" when played back at normal speed for the master. ("Brazil", similarly recorded, was the B-side.) This was the first time that Les Paul used multitracking in a recording (Paul had been shopping his multitracking technique, unsuccessfully, since the '30s. Much to his dismay, Sidney Bechet used it in 1941 to play half a dozen instruments on "Sheik of Araby"). These recordings were made not with magnetic tape, but with acetate discs. Paul would record a track onto a disk, then record himself playing another part with the first. He built the multitrack recording with overlaid tracks, rather than parallel ones as he did later. By the time he had a result he was satisfied with, he had discarded some five hundred recording disks.

Paul even built his own disc-cutter assembly, based on automobile parts. He favored the flywheel from a Cadillac for its weight and flatness. Even in these early days, he used the acetate-disk setup to record parts at different speeds and with delay, resulting in his signature sound with echoes and birdsong-like guitar riffs. When he later began using magnetic tape, the major change was that he could take his recording rig on tour with him, even making episodes for his fifteen-minute radio show in his hotel room. He later worked with Ross Snyder in the design of the first eight-track recording deck (built for him by Ampex for his home studio.)^[38][39]

Electronics engineer Jack Mullin had been assigned to a U.S. Army Signal Corps unit stationed in France during World War II. On a mission in Germany near the end of the war, he acquired and later shipped home a German Magnetophon (tape recorder) and fifty reels of I.G. Farben plastic recording tape. Back in the U.S., Mullin rebuilt and developed the machine with the intention of selling it to the film industry, and held a series of demonstrations which quickly became the talk of the American audio industry.

Within a short time, Crosby had hired Mullin to record and produce his radio shows and master his studio recordings on tape, and he invested US$50,000 in a Northern California electronics firm, Ampex. With Crosby's backing, Mullin and Ampex created the Ampex Model 200, the world's first commercially produced reel-to-reel audio tape recorder. Crosby gave Les Paul the second Model 200 to be produced. Using this machine, Paul placed an additional playback head, located before the conventional erase/record/playback heads. This allowed Paul to play along with a previously recorded track, both of which were mixed together on to a new track. This was a mono tape recorder with just one track across the entire width of quarter-inch tape; thus, the recording was "destructive" in the sense that the original recording was permanently replaced with the new, mixed recording.

Paul's re-invention of the Ampex 200 inspired Ampex to develop two-track and three-track recorders, which allowed him to record multiple tracks on one tape without erasing previous takes. These machines were the backbone of professional recording, radio and television studios in the 1950s and early 1960s. In 1954, Paul continued to develop this technology by commissioning Ampex to build the first 8-track (multitrack) tape recorder, at his own expense. His design became known as "Sel-Sync" (Selective Synchronization), in which specially modified electronics could either record or play back from the record head, which was not optimized for playback but which had acceptable sound quality for musicians to listen to for the purposes of recording an "overdub" (OD) in sync with the original recording. This is the core technology behind multitrack recording.^[40]

Les Paul & Mary Ford[link]

Paul met country-western singer Colleen Summers in 1945. They began working together in 1948, at which time she adopted the stage name Mary Ford. They were married in 1949. The couple's hits included "How High the Moon", "Bye Bye Blues", "Song in Blue", "Don'cha Hear Them Bells", "The World Is Waiting for the Sunrise", and "Vaya con Dios". These songs featured Ford harmonizing with herself.

Like Crosby, Paul and Ford used the now-ubiquitous recording technique known as close miking,^[38] where the microphone is less than 6 inches (15 cm) from the singer's mouth. This produces a more-intimate, less-reverberant sound than is heard when a singer is 1 foot (30 cm) or more from the microphone. When implemented using a cardioid-patterned microphone, it emphasizes low-frequency sounds in the voice due to a cardioid microphone's proximity effect and can give a more relaxed feel because the performer isn't working so hard. The result is a singing style which diverged strongly from unamplified theater-style singing, as might be heard in musical comedies of the 1930s and 1940s.

Radio and television programs[link]

Paul had hosted a fifteen-minute radio program, The Les Paul Show, on NBC radio in 1950, featuring his trio (himself, Ford and rhythm player Eddie Stapleton) and his electronics, recorded from their home and with gentle humor between Paul and Ford bridging musical selections, some of which had already been successful on records, some of which anticipated the couple's recordings, and many of which presented re-interpretations of such jazz and pop selections as "In the Mood", "Little Rock Getaway", "Brazil" and "Tiger Rag". Over ten of these shows survive among old-time radio collectors today.^[41]

The show also appeared on television a few years later with the same format, but excluding the trio and retitled The Les Paul & Mary Ford Show (also known as Les Paul & Mary Ford at Home) with "Vaya Con Dios" as a theme song. Sponsored by Warner Lambert's Listerine mouthwash, it was widely syndicated during 1954–1955, and was only five minutes (one or two songs) long on film, therefore used as a brief interlude or fill-in in programming schedules. Since Paul created the entire show himself, including audio and video, he maintained the original recordings and was in the process of restoring them to current quality standards until his death.^[42]

During his radio shows, Paul introduced the fictional "Les Paulverizer" device, which multiplies anything fed into it, like a guitar sound or a voice. Paul has stated that the idea was to explain to the audience how his single guitar could be multiplied to become a group of guitars. The device even became the subject of comedy, with Ford multiplying herself and her vacuum cleaner with it so she could finish the housework faster.

Later career[link]

Les Paul, May 2004

In 1965, Paul went into semi-retirement, although he did return to the studio occasionally. He and Ford had divorced in December 1962, as she could no longer cope with the traveling lifestyle their act required of them.^{[citation needed]} Paul's most-recognizable recordings from then through the mid-1970s were an album for London Records/Phase 4 Stereo, Les Paul Now (1968), on which he updated some of his earlier hits; and, backed by some of Nashville's celebrated studio musicians, a meld of jazz and country improvisation with fellow guitar virtuoso Chet Atkins, Chester and Lester (1976), for RCA Victor.

In 1987, Paul underwent heart surgery. He then returned to active live performance, continuing into his 80s even though he often found it painful to play the guitar because of arthritis in his hands. In 2006, at age 90, he won two Grammys at the 48th Annual Grammy Awards for his album Les Paul & Friends: American Made World Played. He also performed every Monday night, accompanied by a trio which included guitarist Lou Pallo, bassist Paul Nowinksi (and later, Nicki Parrott) and pianist John Colaianni, originally at Fat Tuesdays, and later at the Iridium Jazz Club on Broadway in the Times Square area of New York City.^[43][44][45]

Composer Richard Stein (1909–1992) sued Paul for plagiarism, charging that Paul's "Johnny (Is the Boy for Me)" was taken from Stein's 1937 song "Sanie cu zurgălăi" (Romanian for "Sleigh with Bells"). A 2000 cover version of "Johnny" by Belgian musical group Vaya Con Dios that credited Paul prompted another action by the Romanian Musical Performing and Mechanical Rights Society.^[46]

For many years Les Paul would sometimes surprise radio hosts Steve King and Johnnie Putman with a call to the "Life After Dark Show" on WGN (AM) in Chicago. These calls would take place in the wee hours of Tuesday Morning following his show at the Iridium Jazz Club. Until they ended their show on WGN, Steve and Johnnie continued to honor Les on Tuesday Mornings at 2:35 AM with their segment "A Little More Les" drawing from around 30 hours of recorded conversations with Les.

Death[link]

On August 13, 2009,^[4][5] Paul died of complications from pneumonia at White Plains Hospital in White Plains, New York.^[47] His family and friends were by his side.^[48] Paul is survived by his four children and his companion Arlene Palmer.^[49] His attorney told the media that he had made several hospital stays over the previous few months.^[50] His last concert took place a few weeks before his death.

Upon learning of his death many artists and popular musicians paid tribute by publicly expressing their sorrow. After learning of Paul's death, former Guns N' Roses guitarist Slash called him "vibrant and full of positive energy.", while Richie Sambora, lead guitarist of Bon Jovi, referred to him as "revolutionary in the music business". U2 guitarist The Edge said, "His legacy as a musician and inventor will live on and his influence on rock and roll will never be forgotten." ^[51][52][53]

On August 21, 2009, he was buried near Milwaukee in Waukesha, Wisconsin at Prairie Home Cemetery which indicated that his plot would be in an area where visitors can easily view it.^[54][55] Like his funeral in New York on August 19, the burial was private, but earlier in the day a public memorial viewing of the closed casket was held in Milwaukee at Discovery World with 1,500 attendees who were offered free admission to the Les Paul House of Sound exhibit for the day.^[56]

Awards and honors[link]

Paul was initiated into the Gamma Delta chapter of the Tau Kappa Epsilon fraternity at the University of Miami in 1952.^[57] He has earned the Presidential award from the Tau Kappa Epsilon fraternity.^{[58][dead link]}

In 1979, Paul and Ford's 1951 recording of "How High the Moon" was inducted into the Grammy Hall of Fame.^[59] Paul received a Grammy Trustees Award for his lifetime achievements in 1983, and in 2001 the Special Merit/Technical Grammy Award.^[60]

In 1988, Paul was inducted into the Rock and Roll Hall of Fame by Jeff Beck, who said, "I've copied more licks from Les Paul than I'd like to admit." In 1991, the Mix Foundation established an annual award in his name; the Les Paul Award which honors "individuals or institutions that have set the highest standards of excellence in the creative application of audio technology".^[61] In 2005, he was inducted into the National Inventors Hall of Fame for his development of the solid-body electric guitar.^[62] In 2006, Paul was inducted into the National Association of Broadcasters Hall of Fame. He was named an honorary member of the Audio Engineering Society.^[63] In 2007, he was awarded the National Medal of Arts.^[64]

A one-hour biographical documentary film The Wizard of Waukesha was shown at the Los Angeles International Film Exposition (FILMEX) March 4–21, 1980, and later on PBS television. A biographical, feature-length documentary titled Chasing Sound: Les Paul at 90 made its world première on May 9, 2007, at the Downer Theater in Milwaukee, Wisconsin. Paul appeared at the event and spoke briefly to the enthusiastic crowd. The film is distributed by Koch Entertainment and was broadcast on PBS on July 11, 2007, as part of its American Masters series^[65][66] and was broadcast on October 17, 2008, on BBC Four as part of its Guitar Night. The première coincided with the final part of a three-part documentary by the BBC broadcast on BBC ONE The Story of the Guitar.

In June 2008, an exhibit showcasing his legacy and featuring items from his personal collection opened at Discovery World in Milwaukee.^[67] The exhibit was facilitated by a group of local musicians under the name Partnership for the Arts and Creative Excellence (PACE).^[68] Paul played a concert in Milwaukee to coincide with the opening of the exhibit.^[69]

Paul's hometown of Waukesha is planning a permanent exhibit to be called "The Les Paul experience."^[70]

In July 2005, a 90th-birthday tribute concert was held at Carnegie Hall in New York City. After performances by Steve Miller, Peter Frampton, Jose Feliciano and a number of other contemporary guitarists and vocalists, Paul was presented with a commemorative guitar from the Gibson Guitar Corporation.^[71]

On November 15, 2008, he received the American Music Masters award through the Rock and Roll Hall of Fame at a tribute concert at the State Theater in Cleveland, Ohio. Among the many guest performers were Duane Eddy, Eric Carmen, Lonnie Mack, Jennifer Batten, Jeff "Skunk" Baxter, Dennis Coffey, James Burton, Billy Gibbons, Lenny Kaye, Steve Lukather, Barbara Lynn, Katy Moffatt, Alannah Myles, Richie Sambora, The Ventures and Slash.

In February 2009, only months prior to his death, Les Paul sat down with Scott Vollweiler of Broken Records Magazine, in which would be one of Les Paul's final interviews. His candid answers were direct and emotional. Broken Records Magazine had planned to run that cover feature the following month but due to delays was held until the summer. 3 days before the release, Les Paul died. The issue would be his final cover feature of his storied career.^[72]

In August, 2009, Paul was named one of the ten best electric guitar players of all-time by Time magazine.^[73]

On June 9, 2010, which would have been Les Paul's 95th birthday, a tribute concert featuring Jeff Beck, Imelda May, Gary U.S. Bonds and Brian Setzer among others, was held at the Iridium Jazz Club where Les Paul played nearly every week almost to the end of his life. The concert was released on the live album Rock 'n' Roll Party (Honoring Les Paul) in 2011.

On June 9–10, 2011 Google celebrated what would have been Paul's 96th birthday with a Google doodle of an interactive guitar.^[74]

On November 23, 2011, Paul was ranked at #18 on Rolling Stone's "100 Greatest Guitarists of All Time".^[75]

In 2010, Paul was inducted into the New Jersey Hall of Fame.^[76]

Personal life[link]

Les Paul with pianist John Colianni.

Paul married Virginia Webb in 1938. They had two children, Gene (Lester Jr.), born in 1941 and named after actor-songwriter Gene Lockhart, and Russell (Rusty), born 1944, before divorcing in 1949. Later that year, Paul and Mary Ford (born Iris Colleen Summers) were married. They adopted a girl, Colleen, in 1958 and their son Robert (Bobby) was born the following year. They had also lost a child, who was born prematurely and died only four days old. Les Paul and Mary Ford divorced in 1963.^[77]

Paul was the instructor of rock guitarist Steve Miller of the Steve Miller Band, to whom Paul gave his first guitar lesson.^[78] Miller's father was best man at Paul's 1949 wedding to Mary Ford.

Paul resided for many years in Mahwah, New Jersey.

Discography[link]

Hit singles[link]

Albums[link]

Feedback (1944)—compilation Les Paul Trio (1946)—compilation Hawaiian Paradise (1949) The New Sound (1950) Les Paul's New Sound, Volume 2 (1951) Bye Bye Blues! (1952) Gallopin' Guitars (1952)—compilation The Hit Makers! (1953) Les and Mary (1955) Time to Dream (1957) Lover's Luau (1959) The Hits of Les and Mary (1960)—compilation Bouquet of Roses (1962) Warm and Wonderful (1962) Swingin' South (1963) Fabulous Les Paul and Mary Ford (1965) Les Paul Now! (1968) Guitar Tapestry Lover The Guitar Artistry of Les Paul (1971) The World is Still Waiting for the Sunrise (1974)—compilation

The Best of Les Paul with Mary Ford (1974)—compilation Chester and Lester (1976)—with Chet Atkins Guitar Monsters (1977)—with Chet Atkins Les Paul and Mary Ford (1978)—compilation Multi Trackin' (1979) All-Time Greatest Hits (1983)—compilation The Very Best of Les Paul with Mary Ford' Famille Nombreuse (1992)—compilation The World Is Waiting (1992)—compilation The Best of the Capitol Masters: Selections From "The Legend and the Legacy" Box Set (1992)—compilation All-Time Greatest Hits (1992)—compilation Their All-Time Greatest Hits (1995)—compilation Les Paul: The Legend and the Legacy (1996; a four-CD box set chronicling his years with Capitol Records) 16 Most Requested Songs (1996)—compilation The Complete Decca Trios—Plus (1936–1947) (1997)—compilation California Melodies (2003) Les Paul – The Legendary Fred Waring Broadcasts (2004) Les Paul & Friends: American Made World Played (2005) Les Paul And Friends: A Tribute To A Legend (2008)

Singles[link]

"It's Been a Long, Long Time"—Bing Crosby & The Les Paul Trio (1945), #1 on Billboard Pop singles chart, 1 week, December 8 "Rumors Are Flying"—Andrews Sisters & Les Paul (1946) "Guitar Boogie" (1947) "Lover (When You're Near Me)" (1948) "Brazil" (1948) "What Is This Thing Called Love?" (1948) "Nola" (1950) "Goofus" (1950) "Little Rock 69 Getaway" (1950/1951) "Tennessee Waltz"—Les Paul & Mary Ford (1950/1951), #1, Cashbox "Mockingbird Hill"—Les Paul & Mary Ford (1951), #1, Cashbox "How High The Moon"—Les Paul & Mary Ford (1951), #1, Billboard Pop singles chart, 9 weeks, April 21 – June 16; #1, Cashbox, 2 weeks; #2, R&B chart "I Wish I Had Never Seen Sunshine"—Les Paul & Mary Ford (1951) "The World Is Waiting for the Sunrise"—Les Paul & Mary Ford (1951), #2, Billboard; #3, Cashbox "Just One More Chance"—Les Paul & Mary Ford (1951) "Jazz Me Blues" (1951) "Josephine" (1951) "Whispering" (1951) "Jingle Bells" (1951) "Tiger Rag"—Les Paul & Mary Ford (1952), #2, Billboard; #8, Cashbox "I'm Confessin' (That I Love You)"—Les Paul & Mary Ford (1952) "Carioca" (1952) "In the Good Old Summertime"—Les Paul & Mary Ford (1952) "Smoke Rings"—Les Paul & Mary Ford (1952) "Meet Mister Callaghan" (1952), #5, Billboard

"Take Me In Your Arms And Hold Me"—Les Paul & Mary Ford (1952) "Lady of Spain" (1952) "My Baby's Coming Home"—Les Paul & Mary Ford (1952) "Bye Bye Blues"—Les Paul & Mary Ford (1953) "I'm Sitting On Top Of The World"—Les Paul & Mary Ford (1953) "Sleep" (Fred Waring's theme song) (1953) "Vaya Con Dios"—Les Paul & Mary Ford (1953), #1, Billboard Pop singles chart, 11 weeks, August 8 – October 3, November 7–14; #1, Cashbox, 5 weeks "Johnny (Is The Boy For Me)"—Les Paul & Mary Ford (1953), #15, Billboard; #25, Cashbox "Don'cha Hear Them Bells"—Les Paul & Mary Ford (1953), #13, Billboard; #32, Cashbox "The Kangaroo" (1953), #25, Billboard; #23, Cashbox "I Really Don't Want To Know"—Les Paul & Mary Ford (1954) "I'm A Fool To Care"—Les Paul & Mary Ford (1954) "Whither Thou Goest"—Les Paul & Mary Ford (1954) "Mandolino"—Les Paul & Mary Ford (1954), #19, Billboard "Song in Blue"—Les Paul & Mary Ford (1954), #17, Cashbox "Hummingbird"—Les Paul & Mary Ford (1955) "Amukiriki (The Lord Willing)"—Les Paul & Mary Ford (1955) "Magic Melody"—Les Paul & Mary Ford (1955) "Texas Lady"—Les Paul & Mary Ford (1956) "Moritat" (Theme from "Three Penny Opera") (1956) "Nuevo Laredo"—Les Paul & Mary Ford (1956) "Cinco Robles (Five Oaks)"—Les Paul & Mary Ford (1957) "Put A Ring On My Finger"—Les Paul & Mary Ford (1958) "Jura (I Swear I Love You)"—Les Paul & Mary Ford (1961) "Love Sneakin' Up On You"-Les Paul, Joss Stone & Sting (2005)

Compositions[link]

Paul was also a prolific composer. Some of the songs he wrote were "Song in Blue", "Cryin'", "Hip-billy Boogie", "Suspicion", "Mandolino", "Magic Melody", "Don'cha Hear Them Bells", "The Kangaroo", "Big-Eyed Gal", "All I Need is You", "Mammy's Boogie", “Pacific Breeze”, “Mountain Railroad”, “Move Along, Baby (Don’t Waste My Time)”, "Five Alarm Fire", and "Walkin' and Whistlin' Blues".

See also[link]

Biography portal

• Ampex
• Discovery World
• Gibson Les Paul
• Gibson SG
• List of Rock and Roll Hall of Fame inductees
• Mary Ford

References[link]

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External links[link]

Wikimedia Commons has media related to: Lester William Polfuss

• Official website
• History of Les Paul
• Les Paul at the Internet Movie Database
• Les Paul: Chasing Sound (may require subscription) PBS Documentary on the life of Les Paul, including extended interviews with Paul.
• Remembering Les Paul Photos and extended interviews with Les on WGN Chicago's Steve & Johnnie early morning show
• Staff writer (August 13, 2009). "Les Paul", obituary at The Daily Telegraph (Accessed August 24, 2009)
• "Les Paul, 'The Wizard of Waukesha'", a biography (undated) at the Wisconsin Historical Society's official website
• Les Paul – Discovery World 2005 video (requires Adobe Flash) at Discovery World's (museum) official website
• The Les Paul Show, archive of Paul's NBC radio show at the Internet Archive's official website (includes MP3 files (free) of eleven of their radio shows including their audition show)
• "Les Paul: Legacy of a Guitar Hero" at LIFE
• The Wizard of Waukesha (1980) at Allmovie's official website
• Les Paul – 'Miles of Music', two video interviews of and performances by Paul (5–6 minutes each; requires Adobe Flash) with Bob Miles on Miles of Music (milesofmusic.tv), a Public-access television cable TV program
• CLASSIC TRACKS: Les Paul & Mary Ford 'How High The Moon'
• Photo Library from performances at Iridium
• Les Paul's final interview
• Les Paul at Find a Grave

Persondata
Name	Polfuss, Lester William
Alternative names	Paul, Les
Short description	American jazz guitarist, country guitarist, songwriter and inventor
Date of birth	June 9, 1915
Place of birth	Waukesha, Wisconsin
Date of death	August 12, 2009
Place of death	White Plains, New York

Chester Arthur Burnett (June 10, 1910 – January 10, 1976), known as Howlin' Wolf, was an influential American blues singer, guitarist and harmonica player.

With a booming voice and looming physical presence, Burnett is commonly ranked among the leading performers in electric blues; musician and critic Cub Koda declared, "no one could match Howlin' Wolf for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits."^[1] A number of songs written or popularized by Burnett—such as "Smokestack Lightnin'", "Back Door Man", "Killing Floor" and "Spoonful"—have become blues and blues rock standards.

At 6 feet, 6 inches (198 cm) and close to 300 pounds (136 kg), he was an imposing presence with one of the loudest and most memorable voices of all the "classic" 1950s Chicago blues singers. This rough-edged, slightly fearsome musical style is often contrasted with the less crude but still powerful presentation of his contemporary and professional rival, Muddy Waters. Howlin' Wolf, Sonny Boy Williamson (Rice Miller), Little Walter Jacobs, and Muddy Waters are usually regarded in retrospect as the greatest blues artists who recorded for Chess in Chicago. Sam Phillips once remarked, "When I heard Howlin' Wolf, I said, 'This is for me. This is where the soul of man never dies.'" In 2004, Rolling Stone magazine ranked him #51 on their list of the "100 Greatest Artists of All Time".^[2]

Early life[link]

Born in White Station, Mississippi, near West Point, he was named after Chester A. Arthur, the 21st President of the United States, and was nicknamed Big Foot Chester and Bull Cow in his early years because of his massive size. He explained the origin of the name Howlin' Wolf thus: "I got that from my grandfather [John Jones]." His Grandfather would often tell him stories about the wolves in that part of the country and warn him that if he misbehaved, the howling wolves would "get him". According to the documentary film The Howlin' Wolf Story, Howlin' Wolf's parents broke up when he was young. His very religious mother Gertrude threw him out of the house while he was still a child for refusing to work around the farm; he then moved in with his uncle, Will Young, who treated him badly. When he was 13, he ran away and claimed to have walked 85 miles (137 km) barefoot to join his father, where he finally found a happy home within his father's large family. During the peak of his success, he returned from Chicago to his home town to see his mother again, but was driven to tears when she rebuffed him and refused to take any money he offered her, saying it was from his playing the "Devil's music".

In 1930, Howlin' Wolf met Charley Patton, the most popular bluesman in the Delta at the time. Wolf would listen to Patton play nightly from outside a nearby juke joint. There he remembered Patton playing "Pony Blues," "High Water Everywhere," "A Spoonful Blues," and "Banty Rooster Blues." The two became acquainted and soon Patton was teaching him guitar. "The first piece I ever played in my life was ... a tune about hook up my pony and saddle up my black mare" (Patton's "Pony Blues").^[3] Wolf also learned about showmanship from Patton: "When he played his guitar, he would turn it over backwards and forwards, and throw it around over his shoulders, between his legs, throw it up in the sky."^[3] "Chester [Wolf] could perform the guitar tricks he learned from Patton for the rest of his life."^[3] "Chester learned his lessons well and played with Patton often [in small Delta communities]."^[4]

Howlin' Wolf was also inspired by other popular blues performers of the time, including the Mississippi Sheiks, Blind Lemon Jefferson, Ma Rainey, Lonnie Johnson, Tampa Red, Blind Blake, and Tommy Johnson (two of the earliest songs he mastered were Jefferson's "Match Box Blues" and Leroy Carr's "How Long, How Long Blues"). Country singer Jimmie Rodgers, who was Wolf's childhood idol, was also an influence. Wolf tried to emulate Rodgers' "blue yodel," but found that his efforts sounded more like a growl or a howl. "I couldn't do no yodelin'," Barry Gifford quoted him as saying in Rolling Stone, "so I turned to howlin'. And it's done me just fine."^{[citation needed]} His harmonica playing was modeled after that of Rice Miller (also known as Sonny Boy Williamson II), who had taught him how to play when Howlin Wolf had moved to Parkin, Arkansas, in 1933.

During the 1930s, Wolf performed in the South as a solo performer and with a number of blues musicians, including Floyd Jones, Johnny Shines, Honeyboy Edwards, Sonny Boy Williamson II, Robert Johnson, Robert Jr. Lockwood, Willie Brown, Son House, Willie Johnson. On April 9, 1941, at age thirty, he was inducted into the U.S. Army and was stationed at several army bases. Finding it difficult to adjust to military life, Wolf was discharged November 3, 1943, during the middle of World War II, without ever being sent overseas. Wolf returned to his family and helped with farming, while performing as he had done in the 1930s with Floyd Jones and others. In 1948 he formed a band which included guitarists Willie Johnson and Matt "Guitar" Murphy, harmonica player Junior Parker, a pianist remembered only as "Destruction" and drummer Willie Steele. He began broadcasting on KWEM in West Memphis, Arkansas, alternating between performing and pitching equipment on his father's farm after his family's move to this area in the same year. Eventually, Sam Phillips discovered him and ended up signing him for Memphis Recording Service in 1951.^[5]

Matt "Guitar" Murphy played with Wolf teaching him to play on time. Matt says sometimes he played 13 bars and sometimes 14 and Murphy would cut through to show him how to stay in time, getting it down to 12 bars. Wolf regularly made up lyrics about the band on stage, sometimes in jest and sometimes hurtful. Murphy arranged for Junior Parker to join Wolf's band. Later Parker and Murphy both left to form "The Blue Flames", the name chosen by Murphy.^{[citation needed]}

Career[link]

1950s[link]

In 1950, Howlin' Wolf cut several tracks at Sun Studio in Memphis. He quickly became a local celebrity, and soon began working with a band that included Willie Johnson and guitarist Pat Hare. His first recordings came in 1951, when he recorded sessions for both the Bihari brothers at RPM Records and Leonard Chess's Chess Records. Chess issued Howlin' Wolf's "Moanin' At Midnight" b/w "How Many More Years" on August 15, 1951; Wolf also recorded sides for RPM, with Ike Turner, in late 1951 and early 1952. Chess eventually won the war over the singer, and Wolf settled in Chicago, Illinois c. 1953.^[5] arriving in Chicago, he assembled a new band, recruiting Chicagoan Jody Williams from Memphis Slim's band as his first guitarist. Within a year Wolf enticed guitarist Hubert Sumlin to leave Memphis and join him in Chicago; Sumlin's terse, curlicued solos perfectly complemented Burnett's huge voice and surprisingly subtle phrasing. Although the line-up of Wolf's band would change regularly over the years, employing many different guitarists both on recordings and in live performance including Willie Johnson, Jody Williams, Lee Cooper, L.D. McGhee, Otis "Big Smokey" Smothers, his brother Little Smokey Smothers, Jimmy Rogers, Freddie "Abu Talib" Robinson, and Buddy Guy, among others, with the exception of a couple of brief absences in the late '50s Sumlin remained a member of the band for the rest of Wolf's career, and is the guitarist most often associated with the Chicago Howlin' Wolf sound.

In the 1950s Wolf had four songs that qualified as "hits" on the Billboard national R&B charts: "How Many More Years", his first and biggest hit, made it to #4 in 1951; its flip side, "Moanin' at Midnight", made it to #10 the same year; "Smokestack Lightning" charted for three weeks in 1956, peaking at #8; and "I Asked For Water (She Gave Me Gasoline)" appeared on the charts for one week in 1956, in the #8 position. In 1959, Wolf's first album, Moanin' in the Moonlight, a compilation of previously released singles, was released.

1960s[link]

His 1962 LP Howlin' Wolf, which featured contributions from Willie Dixon, Jimmy Rogers and Sam Lay among others, is a famous and influential blues album, often referred to as "The Rocking Chair album" because of its cover illustration depicting an acoustic guitar leaning against a rocking chair. This album contained "Wang Dang Doodle", "Goin' Down Slow", "Spoonful", and "Little Red Rooster" (titled "The Red Rooster" on this album), songs which found their way into the repertoires of British and American bands infatuated with Chicago blues. In 1964 he toured Europe as part of the American Folk Blues Festival tour produced by German promoters Horst Lippmann and Fritz Rau. In 1965 he appeared on the television show Shindig at the insistence of The Rolling Stones, who were scheduled to appear on the same program and who had covered "Little Red Rooster" on an early album. He was often backed on records by bassist and songwriter Willie Dixon who is credited with such Howlin' Wolf standards as "Spoonful", "I Ain't Superstitious", "Little Red Rooster", "Back Door Man", "Evil", "Wang Dang Doodle" (later recorded by Koko Taylor), and others.

In September 1967, he joined forces with Bo Diddley and Muddy Waters for The Super Super Blues Band album of Chess blues standards, including "The Red Rooster" and "Spoonful".

1970s[link]

In May 1970, Howlin' Wolf, his long-time guitarist Hubert Sumlin, and the young Chicago blues harmonica player Jeff Carp traveled to London along with Chess Records producer Norman Dayron to record the Howlin' Wolf London Sessions LP, accompanied by British blues/rock musicians Eric Clapton, Steve Winwood, Ian Stewart, Bill Wyman, Charlie Watts and others. He recorded his last album for Chess, The Back Door Wolf, in 1973.

Unlike many other blues musicians, after he left his impoverished childhood to begin a musical career, Howlin' Wolf was always financially successful. Having already achieved a measure of success in Memphis, he described himself as "the onliest one to drive himself up from the Delta" to Chicago, which he did, in his own car on the Blues Highway and with four thousand dollars in his pocket, a rare distinction for a black blues man of the time. In his early career, this was the result of his musical popularity and his ability to avoid the pitfalls of alcohol, gambling and the various dangers inherent in what are vaguely described as "loose women", to which so many of his peers fell prey. Though functionally illiterate into his 40s, Burnett eventually returned to school, first to earn a G.E.D., and later to study accounting and other business courses aimed to help his business career.

Wolf met his future wife, Lillie, when she attended one of his performances in a Chicago club. She and her family were urban and educated, and not involved in what was generally seen as the unsavory world of blues musicians. Nonetheless, immediately attracted when he saw her in the audience as Wolf says he was, he pursued her and won her over. According to those who knew them, the couple remained deeply in love until his death. Together they raised Bettye and Barbara, Lillie's two daughters from an earlier relationship.

After he married Lillie, who was able to manage his professional finances, Wolf was so financially successful that he was able to offer band members not only a decent salary, but benefits such as health insurance; this in turn enabled him to hire his pick of the available musicians, and keep his band one of the best around. According to his daughters, he was never financially extravagant, for instance driving a Pontiac station wagon rather than a more expensive and flashy car.

Wolf's health declined in the late 1960s through 1970s. He suffered several heart attacks and in 1970 his kidneys were severely damaged in an automobile accident. He died in 1976 from complications of kidney disease.

Legacy[link]

Burnett died at Hines VA Hospital in Hines, Illinois on January 10, 1976 and was buried in Oak Ridge Cemetery, Hillside, Cook County, Illinois in a plot in Section 18, on the east side of the road. His large gravestone, allegedly purchased by Eric Clapton^{[citation needed]}, has an image of a guitar and harmonica etched into it.

The Howlin' Wolf Memorial Blues Festival is held each year in West Point, Mississippi. Wolf's Juke Joint Jam is another annual Howlin' Wolf tribute festival held in West Point. Some of the artists who have played 'Wolf Jam' include Wolf's lead guitarist Hubert Sumlin, Muddy Waters' back band of Willie "Big Eyes" Smith, Calvin "Fuzz" Jones and "Steady Rollin" Bob Margolin, Willie King, Blind Mississippi Morris, Kenny Brown, Burnside Exploration, etc. The festival is held at the 500-acre (2.0 km²) festival grounds known as Waverly Waters Resort.

A popular music venue in New Orleans, Louisiana was named The Howlin' Wolf when it opened in 1988.^[6]

Burnett was portrayed by Eamonn Walker in the 2008 motion picture Cadillac Records.

Selective awards and recognitions[link]

Grammy Hall of Fame[link]

A recording of Howlin' Wolf was inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance.^{[citation needed]}"

Rock and Roll Hall of Fame[link]

The Rock and Roll Hall of Fame listed three songs by Howlin' Wolf of the 500 songs that shaped rock and roll.^[8]

The Blues Foundation Awards[link]

Honors and Inductions[link]

On September 17, 1994 the U.S. Post Office issued a Howlin' Wolf 29 cents commemorative postage stamp.

Discography[link]

• 1959: Moanin' in the Moonlight
• 1962: Howlin' Wolf Sings the Blues
• 1962: Howlin' Wolf
• 1964: Rockin' The Blues – Live In Germany
• 1966: The Real Folk Blues
• 1966: Live In Cambridge
• 1966: The Super Super Blues Band
• 1967: More Real Folk Blues
• 1969: The Howlin' Wolf Album
• 1971: Message to the Young
• 1971: Going Back Home
• 1971: The London Howlin' Wolf Sessions
• 1972: Live and Cookin' (At Alice's Revisited)
• 1973: Evil – Live at Joe's Place
• 1973: The Back Door Wolf
• 1974: London Revisited
• 1975: Change My Way
• 1990: Cadillac Daddy – Memphis Recordings 1952
• 1997: His Best

Notes[link]

References[link]

• Segrest, James; Hoffman, Mark (2004). Moanin' at Midnight, The Life and Times of Howlin' Wolf. Pantheon Books. pp. 397. ISBN 0-375-42246-3. 
• The Howlin' Wolf Story - The Secret History of Rock & Roll, ASIN: B0000DJZ81 (2003)

External links[link]

• Howlin' Wolf Memorial Blues Festival
• Biography at HowlinWolf.com
• Howlin' Wolf complete session discography
• The Howling or, 100 Years of the Big Bad Wolf (PopMatters Article)
• Wolf's Juke Joint Jam
• Howlin' Wolf Gravesite
• 1980 Blues Foundation Hall of Fame induction
• Illustrated Howlin' Wolf discography