was a bouncing, sweaty, whirling dervish of a bluesman, roaring his vocals and all but sucking the reeds right out of his defenseless little harmonicas with his prodigious lung power. Due to throat problems,
's vocals are no longer what they used to be, but he remains a masterful instrumentalist.
's slot as Muddy Waters' harp ace in 1954, but for the next dozen years, the young Mississippian filled the integral role beside Chicago's blues king with power and precision. Of course,
had been preparing for such a career move for a long time, having learned how to wail on harp from none other than
was only a child when he first heard Williamson's fabled radio broadcasts for King Biscuit Time
over KFFA out of Helena, Arkansas. So sure was Cotton
of his future that he ended up moving into Williamson's home at age nine, soaking up the intricacies of blues harpdom from one of its reigning masters. Six years later, Cotton
was ready to unleash a sound of his own.
Gigging with area notables Joe Willie Wilkins
and Willie Nix
built a sterling reputation around West Memphis, following in his mentor's footsteps by landing his own radio show in 1952 over KWEM. Sam Phillips
, whose Sun label was still a fledgling operation, invited Cotton
to record for him, and two singles commenced: "Straighten Up Baby" in 1953 and "Cotton Crop Blues" the next year. Legend has it Cotton
played drums instead of harp on the first platter.
rolled through Memphis minus his latest harpist (Junior Wells
hired on with the legend and went to Chicago. Unfortunately for the youngster, Chess Records insisted on using Little Walter
on the great majority of Waters
' waxings until 1958, when Cotton
blew behind Waters
on "She's Nineteen Years Old" and "Close to You." At Cotton
's suggestion, Waters
had added an Ann Cole
tune called "Got My Mojo Working" to his repertoire. Walter
played on Muddy Waters' first studio crack at it, but that's Cotton
wailing on the definitive 1960 reading (cut live at the Newport Jazz Festival).
By 1966, Cotton
was primed to make it on his own. Waxings for Vanguard, Prestige, and Loma preceded his official full-length album debut for Verve Records in 1967. His own unit then included fleet-fingered guitarist Luther Tucker
and hard-hitting drummer Sam Lay
. Throwing a touch of soul into his eponymous debut set, Cotton
ventured into the burgeoning blues-rock field as he remained with Verve through the end of the decade.
In 1974, Cotton
signed with Buddah and released 100% Cotton
, one of his most relentless LPs, with Matt "Guitar" Murphy
sizzling on backup. A decade later, Alligator issued another stand-out Cotton
LP, High Compression
, which was split evenly between traditional-style Chicago blues and funkier, horn-driven material. Harp Attack!
, a 1990 summit meeting on Alligator, paired Cotton
with three exalted peers: Wells
, Carey Bell
, and comparative newcomer Billy Branch
. Antone's Records was responsible for a pair of gems: a live 1988 set reuniting the harpist with Murphy
, and a stellar 1991 studio project, Mighty Long Time
moved into the 21st century as one of the last surviving originators of the Chicago blues sound, and never slowed his pace a bit, releasing a series of fine albums, including Fire Down Under the Hill (2000) and Baby, Don't You Tear My Clothes (2004), both for Telarc Records, and Giant (2010) and Cotton Mouth Man (2013), both on Alligator Records.