Darrin Phegley/The Gleaner/AP
Blues legend James Cotton ferociously plays the harmonica as he entertains the crowd at the W.C. Handy Blues and Barbecue Festival in Henderson, Ky., on June 13, 2014. Mr. Cotton, a Grammy Award-winning blues harmonica master whose full-throated sound backed such blues legends as Muddy Waters, Sonny Boy Williamson II and Howlin' Wolf, has died at age 81.

Remembering Mr. Superharp: James Cotton's blast-furnace sound burns on

The legendary harmonica player might no longer be with us, but his legacy will continue reverberating even longer and louder than his iconic sound did during his 60-year career.

When pioneering blues harmonica player James Cotton died on Thursday, he left behind a decades-long musical legacy that will continue to reverberate, perhaps even longer and louder than his blast-furnace sound did across his 60-year career.

Mr. Cotton, who was born on a cotton plantation in Tunica, Miss., in 1935, became a working musician by the age of nine. Obsessed with Sonny Boy Williamson II’s harmonica playing, he learned from him directly.

“I wanted to be just like Sonny Boy,” he explained during an interview for a PBS documentary. “I watched every move he made, every word he said.”

“If he played it tonight,” Mr. Cotton added, “I played it tomorrow.”

His career took off in the 1950s after he cut two singles for the burgeoning Sun Records, and toured with Williamson and Howlin’ Wolf, before launching into 12 years of touring and recording with blues legend Muddy Waters.

“I was there for a couple of years before I got to be on the albums,” Mr. Cotton said in the PBS documentary “American Roots Music.” “Muddy wanted me to be just like Little Walter. I told him, ‘Hey, I’ll never be Little Walter, but I can play your music, so you’ve got to give me a chance.’ I guess he heard that.”

Cotton, who was inducted into the Blues Hall of Fame in 2006, made a name for himself accompanying Waters on the 1960 classic, “I’ve got my Mojo working.” Live versions show him, eyes closed, massive frame perched on a stool next to Waters, belting out backup vocals and engulfing both microphone and harmonica in his hands.

“Mr. Superharp," as he was aptly named for his virtuosity and reputation for sometimes sucking his harp reeds right out of the harmonica due to the sheer force with which he played, launched his solo career in 1966 with The James Cotton Band.

Although often lauded for his recordings with the likes of Waters, Cotton’s dynamism as a performer and band leader, sometimes back flipping live on stage, endured nearly 50 years.

Cotton’s career pushed on into the 1970s as he crisscrossed between the blues and rock worlds, working with a host of artists that began with Luther Tucker, Matt “Guitar” Murphy, and Hubert Sumlin. He was later adopted by the growing hippie audience as he worked with Janis Joplin, The Grateful Dead, Led Zeppelin, B.B. King, Santana, Steve Miller, and Freddie King, Alligator Records wrote in its tribute.

Cotton never really slowed down. Even after illness restricted his singing, he forged ahead. In 1996 he won a Grammy for his album, “Deep In The Blues,” and his most recent album “Cotton Mouth Man” (2013), was Grammy nominated.

Cotton released 30 solo albums and earned six Living Blues Awards and 10 Blues Music Awards.

In a 2012 interview with music blogger John J. Moser, Cotton was asked what, after all his success, kept him playing. His reply was simple: “I love it. I love it. I love it, yes I do. What else could I do?”

You've read  of  free articles. Subscribe to continue.

Dear Reader,

About a year ago, I happened upon this statement about the Monitor in the Harvard Business Review – under the charming heading of “do things that don’t interest you”:

“Many things that end up” being meaningful, writes social scientist Joseph Grenny, “have come from conference workshops, articles, or online videos that began as a chore and ended with an insight. My work in Kenya, for example, was heavily influenced by a Christian Science Monitor article I had forced myself to read 10 years earlier. Sometimes, we call things ‘boring’ simply because they lie outside the box we are currently in.”

If you were to come up with a punchline to a joke about the Monitor, that would probably be it. We’re seen as being global, fair, insightful, and perhaps a bit too earnest. We’re the bran muffin of journalism.

But you know what? We change lives. And I’m going to argue that we change lives precisely because we force open that too-small box that most human beings think they live in.

The Monitor is a peculiar little publication that’s hard for the world to figure out. We’re run by a church, but we’re not only for church members and we’re not about converting people. We’re known as being fair even as the world becomes as polarized as at any time since the newspaper’s founding in 1908.

We have a mission beyond circulation, we want to bridge divides. We’re about kicking down the door of thought everywhere and saying, “You are bigger and more capable than you realize. And we can prove it.”

If you’re looking for bran muffin journalism, you can subscribe to the Monitor for $15. You’ll get the Monitor Weekly magazine, the Monitor Daily email, and unlimited access to CSMonitor.com.

QR Code to Remembering Mr. Superharp: James Cotton's blast-furnace sound burns on
Read this article in
QR Code to Subscription page
Start your subscription today