Michael Bernard Bloomfield was born on July 28, 1943, in Chicago, and he died on February 15, 1981. He was an American blues guitarist and composer. In the 1960s, he became a popular music star because of his skill with his guitar. Before 1969, he rarely sang. Bloomfield was known for his guitar playing and had worked with many blues musicians in Chicago before becoming famous. He helped make blues music more popular during the mid-1960s. In 1965, he played on Bob Dylan’s album Highway 61 Revisited, which included the song “Like a Rolling Stone.” He also performed with Dylan at the Newport Folk Festival that year.
In 2003, Rolling Stone magazine ranked Bloomfield as No. 22 on its list of “100 Greatest Guitarists of All Time.” In 2011, the same magazine ranked him No. 42. He was inducted into the Blues Hall of Fame in 2012. As a member of the Paul Butterfield Blues Band, he was inducted into the Rock and Roll Hall of Fame in 2015.
Early years
Bloomfield was born in Chicago into a wealthy Jewish family. His father, Harold, was born there in 1914. Harold's father, Samuel Bloomfield, started Bloomfield Industries in the early 1930s. After Samuel's death, Harold and his brother, Daniel, inherited the company. Bloomfield's mother, Dorothy Klein, was born in Chicago in 1918 and married Harold in 1940. She came from an artistic, musical family and worked as an actress and model before marrying.
Bloomfield's family lived in various locations around Chicago before settling at 424 West Melrose Street on the North Side. When he was twelve years old, his family moved to suburban Glencoe, where he attended New Trier High School for two years. During this time, he began playing in local bands and later formed one called the Hurricanes, named after the Ohio rock band Johnny and the Hurricanes. New Trier expelled Bloomfield after his band performed a loud and energetic rock and roll song at a 1959 school gathering. He attended Cornwall Academy in Massachusetts for one year and then returned to Chicago, where he spent his last year of education at a local Central YMCA High School.
Bloomfield had attended a 1957 Chicago performance by blues singer Josh White and began spending time in Chicago's South Side blues clubs, playing guitar with black blues musicians such as Sleepy John Estes, Yank Rachell, and Little Brother Montgomery. He first joined a black blues band in 1959 when he performed with Luther "Guitar Junior" Johnson at a Chicago club called the Place. He performed with Howlin' Wolf, Muddy Waters, and many other Chicago blues musicians during the early 1960s. In 1962, he married Susan Smith.
Writing in 2001, keyboardist, songwriter, and record producer Al Kooper said:
The Butterfield Blues Band (1965–1967)
In the early 1960s, he met Paul Butterfield, a harmonica player and singer, and Elvin Bishop, a guitarist. He later played with them in the Paul Butterfield Blues Band. He also formed friendships and worked with Nick Gravenites, a fellow Chicago resident, and Norman Dayron, a record producer from the Bronx who was studying at the University of Chicago. He became friends with blues singer Big Joe Williams. In 1963, Bloomfield and his friends George Mitchell and Pete Welding organized a weekly blues event at the Fickle Pickle. He later gained recognition at two Chicago clubs, Big John's and Magoo's. With help from Joel Harlib, a Chicago photographer who became Bloomfield's acting manager, he joined Columbia Records. In early 1964, Harlib gave an audition tape of Bloomfield to Columbia producer John Hammond, who signed him to Columbia's Epic Records label.
Bloomfield recorded some sessions for Columbia in 1964, but these recordings were not released until after his death. In early 1965, he joined the Paul Butterfield Blues Band, which included Elvin Bishop and keyboardist Mark Naftalin, as well as drummer Sam Lay and bassist Jerome Arnold, who had previously worked with Howlin' Wolf. Elektra Records producer Paul Rothchild recorded the band in spring 1965, but most of the tracks were not released until the 1990s. However, one track, a song called "Born in Chicago" by Nick Gravenites, was included on the Elektra album Folksong '65, which sold 200,000 copies when it was released in September 1965. "Born in Chicago" became a popular song for the Butterfield Band. Their first album, The Paul Butterfield Blues Band, was recorded in September 1965 and released the following month.
In June 1965, Bloomfield recorded with Bob Dylan, whom he had met in 1963 at a Chicago club called the Bear. The club was supported by Albert Grossman, who later became Dylan and Butterfield's manager and played a major role in Bloomfield's career. Bloomfield's guitar solos were featured on Dylan's song "Like a Rolling Stone," a single produced by Columbia Records' Tom Wilson. Bloomfield played on most tracks of Dylan's 1965 album Highway 61 Revisited, and he performed onstage with Dylan in July at the Newport Folk Festival. At the festival, Dylan used Bloomfield and the Butterfield Band—without Paul Butterfield—along with keyboardists Al Kooper and Barry Goldberg. This performance marked Dylan's first use of an electric band in a live show. Bloomfield's playing on Dylan's song "Maggie's Farm" is considered a significant electric guitar performance. After the festival, Bloomfield helped Dylan finish the Highway 61 Revisited sessions, and Dylan asked Bloomfield to join his touring band. Bloomfield declined, choosing to continue working with the Butterfield Band.
When Sam Lay became ill in November 1965, the Butterfield Band added Billy Davenport, a drummer from Chicago, to the group. In early 1966, the band performed in California and recorded their second album, East-West, that summer. The album's title track explored a type of music called modal music, based on a song Gravenites and Bloomfield had played since 1965, "It's About Time."
Between 1965 and 1967, Bloomfield played on many recording sessions. His guitar playing greatly influenced musicians in the San Francisco Bay Area after he performed with the Butterfield Band at Bill Graham's Fillmore in March 1966, at San Francisco's Avalon Ballroom, and during a two-week event at the Golden Bear in Huntington Beach, California. He became a mentor and inspiration for many guitarists, especially in the San Francisco Bay Area. In 1965, he performed with Peter, Paul and Mary, resulting in a song called "The King of Names." In 1966, he recorded with the pop group Chicago Loop, whose song "When She Wants Good Lovin' (My Baby Comes to Me)" appeared on Billboard Magazine's chart that year. He also played guitar on recordings by Chuck Berry, Mitch Ryder, and James Cotton.
The Electric Flag (1967–1968)
Bloomfield became tired of the Butterfield Band's long and demanding tour schedule. He moved to San Francisco and wanted to form his own group. In 1967, he created the short-lived Electric Flag with two longtime collaborators from Chicago, Barry Goldberg and vocalist Nick Gravenites. The band included musicians who played brass instruments. The rhythm section consisted of bassist Harvey Brooks and drummer Buddy Miles. Miles had previously played in Wilson Pickett's touring band, while Brooks had performed with Al Kooper in New York City bands. Brooks also played with Kooper and Bloomfield on Bob Dylan's Highway 61 Revisited. The group's first project was the soundtrack for director-producer Roger Corman's 1967 movie The Trip, recorded in the spring of that year.
Electric Flag made its debut at the 1967 Monterey Pop Festival and released an album titled A Long Time Comin' in April 1968 on Columbia Records. Music critics praised the group's unique and interesting sound but noted that the album had uneven quality. By that time, however, the band was already breaking apart due to conflicts among members, poor management, and drug use. Shortly after the album's release, Bloomfield left the band, followed later by Gravenites, Goldberg, and bassist Harvey Brooks.
Work with Al Kooper
Bloomfield also influenced others through his work with Al Kooper, who had previously played with Bloomfield on Dylan's "Like a Rolling Stone." Kooper later became an A&R representative for Columbia Records. Bloomfield and Kooper, possibly with Kooper playing piano, contributed to Moby Grape's 1968 album Grape Jam, an instrumental record that was included with the group's Wow collection.
In 1998, Kooper wrote the booklet notes for the Bloomfield anthology Don't Say That I Ain't Your Man: Essential Blues, 1964–1969. He recalled, "Why not create an entire jam album together? At the time, jazz albums were often made by selecting a leader or two, hiring musicians, choosing songs, and recording an album in one or two days. Why not apply these methods to rock music? Also, as a fan, I was not satisfied with Bloomfield's previous studio recordings. His studio work seemed limited compared to his powerful live performances. Could I create a studio environment where he could perform freely, as he did onstage?"
The result was Super Session, an album that highlighted Bloomfield's guitar skills on one side. Bloomfield, who had trouble sleeping, left the recording sessions after the first day. Guitarist Stephen Stills finished the album with Kooper. The album received strong reviews and became the most successful of Bloomfield's career. Its success led to a live follow-up, The Live Adventures of Mike Bloomfield and Al Kooper, recorded over three nights at Fillmore West in September 1968.
Solo work
From 1968 to 1980, Bloomfield worked as a solo artist, session musician, and backup player. He played guitar on Mother Earth’s cover of Memphis Slim’s “Mother Earth,” a song from their 1968 album Living with the Animals. He also played on two albums by Texas-born soul singer Wayne Talbert. With Mark Naftalin, he produced the 1968 sessions for James Cotton’s 1968 album Cotton in Your Ears. Bloomfield released his first solo album, It’s Not Killing Me, in 1969. He helped Janis Joplin form her Kozmic Blues Band for the album I Got Dem Ol’ Kozmic Blues, Again Mama! in 1969. He co-wrote the song “Work Me, Lord” for the album and played the guitar solo on Joplin’s blues song “One Good Man.” Columbia Records released a 1969 live concert album, Live at Bill Graham’s Fillmore West, which included Mark Naftalin, former Electric Flag member Marcus Doubleday, Snooky Flowers, and a guest appearance by Taj Mahal. In 1969, Bloomfield reunited with Paul Butterfield and Sam Lay for the Chess Records album Fathers and Sons, which featured Muddy Waters and pianist Otis Spann. Bloomfield composed and recorded the soundtrack for the film Medium Cool, directed by his second cousin, Haskell Wexler. The film includes footage from the 1968 Democratic National Convention in Chicago. With Nick Gravenites, he produced blues guitarist Otis Rush’s 1969 album Mourning in the Morning, recorded at FAME Studios in Muscle Shoals, Alabama. The recording included keyboardists Mark Naftalin and Barry Beckett, along with guitarist Duane Allman.
In 1970, Bloomfield stopped playing guitar due to his heroin addiction. He recorded his second solo album, Try It Before You Buy It, in 1973. Columbia Records rejected the album, and the full version was not released until 1990. In 1973, he recorded Triumvirate with Dr. John and John Hammond Jr. That same year, he worked with Mark Naftalin in Sausalito to produce a live album, Live at the Record Plant 1973. In 1974, he rejoined the Electric Flag for an album titled The Band Kept Playing. In 1975, he recorded an album with the group KGB, named after the initials of singer Ray Kennedy, guitarist Barry Goldberg, and himself. The band also included Ric Grech and drummer Carmine Appice. Grech and Bloomfield left the group shortly after the album was released. When the album came out in 1976, Bloomfield told reporters that the project was not well planned and focused on making money. Critics did not like the album, but it included the song “Sail On, Sailor,” which was credited to “Wilson-Kennedy.” The song had a bluesy, darker tone and included lyrics about cocaine, written by Ray Kennedy. In 1976, Bloomfield played on John Cale’s soundtrack for the film Caged Heat. That same year, he recorded an instructional album for guitarists, If You Love These Blues, Play ‘Em as You Please, which was funded by Guitar Player magazine.
During the 1970s, Bloomfield performed at local San Francisco Bay area clubs, such as the Keystone Korner, and joined other bands for performances. In 1977, he was chosen by Andy Warhol to create the soundtrack for Warhol’s final film, Andy Warhol’s Bad (also known as BAD). A single called “Andy’s Bad” was also made for the project, but it was never released. From 1979 to 1981, Bloomfield often performed with the King Perkoff Band, sometimes introducing them as “Michael Bloomfield and Friends.” He recorded the song “Hustlin’ Queen,” written by John Isabeau and Perkoff, in 1979. In the summer of 1980, he toured Italy and Sweden with guitarist Woody Harris and cellist Maggie Edmondson. He joined Bob Dylan at San Francisco’s Warfield Theatre on November 15, 1980, playing on Dylan’s songs “Like a Rolling Stone” and “The Groom’s Still Waiting at the Altar.” Bloomfield continued performing live, with his last public appearance at San Francisco State College on February 7, 1981. His final performance was at Mission Ranch in Carmel, California, about 48 hours before his death.
Bloomfield came from a wealthy family and received $50,000 each year from a trust created by his paternal grandfather.
Death
Bloomfield died in San Francisco on February 15, 1981. He was found sitting behind the wheel of his car, and all four doors were locked. Police reported that an empty Valium bottle was on the car seat, but no suicide note was discovered. The medical examiner who conducted the autopsy said the death was an accident caused by an overdose of cocaine and methamphetamine. Bloomfield's final album, Cruisin' for a Bruisin', was released on the same day his death was announced. His remains are buried in a crypt at Hillside Memorial Park Cemetery in Culver City, near Los Angeles.
Style
Michael Bloomfield was influenced by many famous musicians, including Scotty Moore, Chuck Berry, Little Richard, B.B. King, Big Joe Williams, Otis Rush, Albert King, Freddie King, and Ray Charles.
At first, Bloomfield used a Fender Telecaster guitar. Later, after he signed with Columbia Records in 1964, he also used a Fender Duo-Sonic. While working with the Butterfield Blues Band, he used the Telecaster for the band’s first album and early tours in 1965. By November 1965, he replaced the Telecaster with a 1954 Gibson Les Paul Goldtop, which belonged to another musician named John Nuese. This guitar was used during some recording sessions for the East-West album.
In 1967, Bloomfield traded the Goldtop for a 1959 Les Paul Standard from a guitar repairman named Dan Erlewine, along with $100. At the time, the Les Paul Standard was not popular because it was heavy and expensive for rock musicians. Gibson stopped making this model in 1960. Bloomfield used this guitar with the Electric Flag and on the Super Session album and concerts. He later used both the Les Paul and the Telecaster, but his use of the Les Paul helped inspire other guitarists and led Gibson to restart making the Standard in 1968.
Eventually, Bloomfield lost the Les Paul Standard in Canada. A club owner kept it as partial payment after Bloomfield left a tour early. Bloomfield had been scheduled to perform at a club in Vancouver from November 12 to 16, 1974. After playing the first night, he left without notice, leaving behind the guitar. A note found in his hotel room read, "bye bye, sorry."
Unlike some of his peers, such as Jimi Hendrix and Jeff Beck, Bloomfield rarely used feedback or distortion. Instead, he preferred a loud, clean sound with reverb and vibrato. His style influenced Jerry Garcia, who shifted from acoustic music to electric rock during the Butterfield Band’s peak in 1965. Bloomfield often used a 1965 Fender Twin Reverb amplifier. His guitar solos were based on the minor pentatonic scale and the blues scale. He also used chromatic notes and included Indian and Eastern musical influences in his playing.
Gibson later created a special Les Paul model named after Bloomfield to honor his impact on electric blues and his role in reviving the guitar’s production. Since the original guitar was lost, Gibson used hundreds of photos from Bloomfield’s family to recreate it. The model has two versions: one with modifications Bloomfield made, such as mismatched knobs and unique tuners, and another that closely matches the guitar’s appearance when he last used it, including scratches and other wear.