July is not, as far as I know, National Blues Month, though you’d never know it from the number of blues acts playing the Bay Area in the coming days.
A little research turns up some impressive names: Rod Piazza and the Mighty Flyers (July 4, Pleasanton), Jimmie Vaughan (July 6, San Francisco), Roomful of Blues (July 7, San Francisco), Guitar Shorty (July 8, San Francisco). And then next weekend brings the Metro Fountain Blues Festival to San Jose featuring all of the above minus Vaughan but plus Tommy Castro.
Of all the blues acts you can catch through the week, far and away the greatest is James Cotton, the legendary Chicago harp player in the middle of a three-night run at Yoshi’s in Oakland. Cotton shares the stage with his Superharp band featuring Hubert Sumlin (a blues legend in his own right) and Mojo Buford.
There are, of course, many schools of blues – the players in Texas developed a sound distinct from their compatriots in Memphis and Detroit and so on. For me, the Chicago school remains the ultimate expression of blues and Cotton stands as one of the last remaining links to its golden era.
Born July 1, 1935, in Tunica, Miss., he began playing professionally in the early ‘50s in Howlin’ Wolf’s band. By decade’s end, Cotton had succeeded Little Walter as Muddy Waters’ harp star and it was in that capacity he built his enviable reputation. When I began listening to Waters, there was Cotton alongside the master on albums like “King Bee.”
Cotton began working as a solo artist in the mid-‘60s and over the years has cut dozens of albums. Here are my favorites from the Cotton discography.
”Cut You Loose!” (1966): Cotton recorded his debut album for the still folk-dominated Vanguard label and the results are auspicious, albeit a tad horn-heavy at moments. The seven-plus minutes of “Coast Blues” remain a standout.
”Cotton in Your Ears” (1967): Released on the Verve label, this album finds Cotton collaborating with guitarist Michael Bloomfield (who co-produced with Elliot Mazer). Luther Tucker’s guitar work is tasty throughout.
”High Compression” (1984): Much of the ‘80s blues revival in this country centered around Chicago’s Alligator label. So it is entirely fitting that Cotton recorded some of his best albums there. This is Cotton’s finest studio effort from that period and a veritable primer on the man and his harp. Powerhouse blues from first note to last.
”Live from Chicago Mr. Superharp Himself” (1986): Here is Cotton’s concert album from the Alligator ‘80s and, simply put, one of the best live blues collections ever. The title notwithstanding, “Live from Chicago” also showcases the raspy appeal of Cotton’s vocals.
”Harp Attack” (1990) and “Superharps” (1999): These two discs find Cotton playing in a quartet of harmonica greats – Carey Bell, Junior Wells and Billy Branch on the former, Charlie Musselwhite, Sugar Ray Norcia and Billy Branch on the latter. How could you go wrong?
”Mighty Long Time” (1991): Released on the Austin-based Antone’s label, this album is a tad obscure but so worth the energy involved in finding it. The backing musicians fluctuate but overall the personnel include Jimmie Vaughan, Matt Murphy, Hubert Sumlin, Calvin Jones, Willie Smith and Pinetop Perkins. Strong traditional material predominates (“Call It Stormy Monday,” “Blow Wind Blow”) but there are plenty of smiles too (“Three Hundred Pounds of Joy”).
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