On this night in 1976, not much seemed different about Sandy Bull. The 35-year-old instrumentalist played magnificently and his manner was easy-going. But at this San Francisco performance (a show taped by a friend and released as an album this month), Bull – one of the most influential yet undeservedly obscure innovators of his generation – was for the first time in the best part of 20 years playing completely free of the heroin addiction that had dogged him since childhood. To listen to Live 1976 now is to remember a unique American talent who opened doors for other artists to rethink the boundaries and possibilities of music. “Folk music at that time,” he says, “moved away from strumming and songs to a higher level of instrumental virtuosity, and Sandy was one of the leaders of this.” “We had spent time in Europe,” remembers American folk singer Bob Neuwirth, then a close friend of Bull. “It was a pretty sophisticated thing to do – most people weren’t troubadouring about. He was playing on the streets.

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He was quite ahead of his time.” Singer Patti Smith worked with Bull live in New York in 1974 and tells me that “from as early as 1963, his albums, along with [those of] John Coltrane, were essential listening. He introduced my generation to new takes on pieces such as Carmina Burana (with banjo) and certain works of Bach.” While Bull’s musical tastes were sophisticated, and his juxtapositions – electric/classical; folk/jazz; Eastern/Western – surprising, he wasn’t the first member of his family to have experimented in a comparable fashion.

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Bull’s mother, Daphne Hellman, was a woman of considerable means; her family founded the Seaboard National Bank. But she dedicated her life to culture and music.

An accomplished harpist, she achieved her own notoriety with eclectic performances on the instrument, and in later life, took her harp to the New York subway, accompanied by the self-explanatory percussionist Mr Spoons. Hers was a long and colourful life (she died aged 86 in 2002), the subject of an intimate short film by her granddaughter, K C. K C contends that while Daphne encouraged Sandy’s talent, he was ultimately kept at a distance by her – while she travelled the world with her music, he was sent away to school. It’s not too much of a leap to suggest that Bull from an early age filled some of this void with drugs – and equally to note that when he quit, he wasted no time raising a family of his own with his wife Candy, moving between Los Angeles, Nashville and New York. While achieving personal contentment from the late Seventies onwards, Bull never found the momentum or record company interest to rekindle his music to any serious degree. His death from lung cancer in 2001 ended a career that, though remarkable, had seemed to some of those involved in it to have been stalled by addiction.

“We needed to have more music,” says Charters. “We needed another stage of development. John Fahey was making recordings up until the very end of his life. Bert Jansch went on showing us what he could do. Sandy crashed and burned far too soon.” Like many who revere Bull’s extant recordings, Smith disagrees.

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“He is no minor player,” she says. “He influenced, however subtly, an entire generation. His reinvention of classic pieces paved the way for my own experiments.” “Sandy Bull was an authentic musician,” says Neuwirth.

“He wasn’t a hippy or a dilettante. Various things got in the way, but he soldiered through all of those obstacles.” Sandy Bull & the Rhythm Ace, Live 1976 is out now on Drag City.