May 28, 2007 - Gary Tate

Hubert Sumlin: His distinctive instrumental voice was a natural adjunct to Howlin' Wolf's earth shattering groans, while adding brilliant layers in its own right, and enticing the listener’s attention as forcefully as the Wolf’s assertions. Blues guitarists have swooned over the inventive bent notes Hubert Sumlin chose in response to Wolf’s volcanic eruptions

Born 1931 in Greenwood MS, the call of the Wolf (already a well-established artist) beckoned in 1945 when Little Hubie sneaked a peak through a juke joint window and witnessed Chester Burnett holding court. That led to an unforgettable 30-year old artistic and “father/son” relationship until the Wolf’s 1976 death.

Wolf explained: “I come in possession of Hubert in West Memphis. See, by my

playing around the country he fell in love with me and he wanted to stay with me so I just kept him.” The Wolf relocated to Chicago in 1950, followed by his various guitarists (Jody Williams, Willie Johnson), with Hubert migrating in 1953.

Chess sides featuring Sumlin that crossed the boundary line separating “impressive” from “legendary”, include “Hidden Charms”, “300 Pounds of Joy”, “Killing Floor”, “Wang Dang Doodle”, and “Louise”. After Wolf's passing, Hubert’s impeccable tone rested awhile in Eddie Shaw's Wolfpack. In 1987, guitarist Ronnie Earl arranged an all-star tribute, the result was the splendid “Hubert Sumlin's Blues Party”.

During a 60-year career, Sumlin has played with a wide array of artists, including Eric Clapton, James Cotton,

Carl Perkins, Levon Helm, and Jimmie Vaughan. Hubert Sumlin's contribution to Blues guitar is enormous and everlasting.