James Cotton

At the pinnacle of his vigorous, band-leading phase amid the 1970s, James Cotton embodied an energetic, perspiring, spinning whirlwind of a blues performer who belted out vocals and nearly extracted the metal tongues from his vulnerable small harmonicas through extraordinary breathing strength. Although throat ailments later diminished his singing abilities, he sustained exceptional command of his instrument across many subsequent years. Taking Little Walter's place as Muddy Waters' harmonica specialist in 1954 meant filling enormous expectations for the young Mississippian, yet he executed that central role next to Chicago's blues sovereign with force and accuracy for the following twelve years. Extensive prior preparation had equipped him for this professional step, since he had absorbed the art of powerful harp playing directly from Sonny Boy Williamson.

As a youngster, Cotton first encountered Williamson's renowned broadcasts for King Biscuit Time on KFFA from Helena, Arkansas. Convinced of his destined path, he relocated at age nine into Williamson's household and absorbed the nuances of blues harmonica technique from one of its leading authorities. By the time six additional years had passed, Cotton stood prepared to project his individual style. Performing locally with figures such as Joe Willie Wilkins and Willie Nix, he cultivated a strong reputation throughout West Memphis and secured his own radio program in 1952 on KWEM, mirroring his mentor's example. Sam Phillips, whose Sun imprint remained an emerging venture, asked Cotton to cut sides for him, yielding the two singles "Straighten Up Baby" in 1953 and "Cotton Crop Blues" the following year. Accounts maintain that Cotton handled drums rather than harp on the initial release.

When Muddy Waters arrived in Memphis without his most recent harp player Junior Wells, Cotton joined the icon and relocated to Chicago. Chess Records, however, continued to feature Little Walter on nearly all of Waters' recordings until 1958, at which point Cotton contributed to "She's Nineteen Years Old" and "Close to You." At Cotton's urging, Waters incorporated Ann Cole's song "Got My Mojo Working" into his set list. Little Walter appeared on Muddy Waters' earliest studio attempt, yet it is Cotton heard on the definitive 1960 version captured live at the Newport Jazz Festival.

By 1966 Cotton stood ready to proceed independently. Releases on Vanguard, Prestige, and Loma led to his first full-length album for Verve Records in 1967. His ensemble at the time featured fleet guitarist Luther Tucker and forceful drummer Sam Lay. Infusing a soul element into that self-titled debut, Cotton explored the emerging blues-rock arena while remaining with Verve through the close of the decade.

Cotton joined Buddah in 1974 and issued 100% Cotton, among his most driving albums, with Matt "Guitar" Murphy providing incisive support. Ten years afterward, Alligator delivered another notable Cotton release, High Compression, balanced between classic Chicago blues and horn-accented funk material. Harp Attack!, a 1990 Alligator summit, united Cotton with three distinguished colleagues: Junior Wells, Carey Bell, and relative newcomer Billy Branch. Antone's Records issued two highlights: a 1988 live recording that reunited the harpist with Murphy and Tucker, plus the outstanding 1991 studio effort Mighty Long Time. Cotton entered the twenty-first century among the final surviving architects of the Chicago blues style and maintained an active schedule, delivering several strong albums such as Fire Down Under the Hill in 2000 and Baby, Don't You Tear My Clothes in 2004, both on Telarc Records, along with Giant in 2010 and Cotton Mouth Man in 2013, both on Alligator Records. A Grammy Awards nominee for Best Blues Album in 2014, Cotton Mouth Man marked the final album issued during his lifetime; the blues harmonica pioneer succumbed to pneumonia in March 2017 at age 81.