Essential Blues Harmonica Listening Artists, Albums, Essential Instrumentals, Books & Videos 5th Edition By: David Barrett – www.harmonicamasterclass.com Mark Hummel – www.markhummel.com Joe Filisko – www.customharmonicas.com Additions & Comments By: Paul deLay – www.pauldelay.com Rick Estrin – www.alligator.com/artists Charlie Lange – www.bluebeatmusic.com Listening and studying players is HUGELY important to the growth of all musicians. Studying blues harmonica means that you are studying the language of the blues: the licks, movement, phrasing and articulation that speak the sound and feel of the music. This is accomplished in one way—studying the masters. The more artists you study, the more your sound will be diverse and unique. Along with the fathers of blues harmonicas we will also mention essential modern players who are pushing the envelope of the traditional sound. Start your collection with the fathers of blues harmonica and continue to modern-day players. We recommend purchasing recordings in the general order they are listed (though any combination of artists in a grouping is fine) and pick up box sets when available. Look at the dates of each recording as you listen to get an idea of their place in history. Though it is not mentioned, most of the artists were also great singers and songwriters. This list covers mostly post-war players, though John Lee Williamson (who recorded from 1937 to 1947) was so influential to the players that followed him (many literally followed him gig to gig to learn harmonica) that he needs to be on this list. If you are interested in pre-war blues, check out Harmonica Masters, Classic Recordings from the 1920’s and 30’s (YaZoo 2019) and Harmonica Blues, Great Harmonica Performances of the 1920’s and 30’s (YaZoo 1053). These albums feature important players such as Jazz Gillum, Jaybird Coleman and De Ford Bailey. Next to each artist’s name is a recording from them available on the market. Though there are of course more recordings for each artist, this should get you started. If you find a player you like, research the albums available. There’s a good chance they recorded over a long period of time, and there are some gems out there. In some cases these CDs have gone out of print, though they are still available from specialty sellers. A music seller we commonly use is www.bluebeatmusic.com—they tend to have hard-to- find blues harmonica recordings. Let me (David Barrett) take a moment to thank the other authors who have taken their time to contribute to this listing. It’s been a pleasure building such a list, and learning more about the players that have made, and still are making, important contributions to the blues harmonica world. 1 Grandfather of Blues Harmonica • Sonny Boy Williamson I (John Lee Williamson) – Sonny Boy’s first recording session on May 5, 1937 yielded the hit song “Good Morning School Girl,” which began to change the perception of the role of harmonica in blues, from musical novelty to a legitimate instrument. Very few players escaped the influence of his playing and songwriting. Document Records has a complete recorded works series (DOCD-5055 through DOCD-5059). Sonny Boy also recorded as a sideman for Big Joe Williams (BDCD-6003 & BDCD-6004), Yank Rachel (Wolf WBCD-006 & WBCD-007), Robert Lee McCoy (WBCD-002), and Henry Townsend (DOCD-5147). Charlie recommends the albums: Bluebird Blues (Classic Blues Label BMG51562) and Essential (Classic Blues Label 2013) as an introduction to Sonny Boy. Fathers of Blues Harmonica – All these players were pioneers and true masters of the instrument. • Big Walter Horton – Walter Horton will always be known for his full-toned, endlessly tasteful acoustic and amplified harmonica playing. Two of his instrumentals, “Easy” and “Walter’s Boogie,” have become standards. His best performances as a frontman are the Offer You Can’t Refuse collection from the Swedish Radio (now out of print); and the live recording with Ronnie Earl, often packaged as Little Boy Blue (JSP CD 2152). There are also two solid CDs: Blind Pig’s Can’t Keep Lovin’ You (BP71484) and Fine Cuts (BP 70678). Some of Walter’s best playing was recorded as a sideman. His January 1953 JOB sessions with Johnny Shines (Evening Shuffle on Westside 635) may contain the best examples of the Chicago amplified style, along with his 1950’s recordings with Muddy Waters, Jimmy Rogers, Joe Hill Louis, Tampa Red, Tommy Brown and Otis Span. Sadly, many of his best recordings remain scattered on various collections, while many of his mediocre ones are prevalent. Paul particularly likes the Arhoolie recordings with Johnny Young (CD-325) where Horton plays through a glass. Charlie recommends Harmonica Blues Kings (Delmark 712). If you’d like a complete listing of Big Walter Horton recordings visit Joe Filisko’s website at www.customharmonicas.com for a downloadable PDF. A great resource! • George Harmonica Smith – Player that took blues to the West Coast and flavored it with Kansas City Swing. Though his diatonic harmonica work was fantastic, his largest contribution to the harmonica world was his chromatic work (more frequent in his later years), giving him the name “King of the Blues Chromatic.” His mid-50’s recordings as a sideman for Champion Jack DuPree on King and his solo work on Modern yielded highly original playing and phrasing. His instrumental “Blues in the Dark” is a benchmark for all chromatic players to learn. He directly influenced the playing of Rod Piazza, William Clarke, and every other notable harmonica player today. Album: Little George Smith, Harmonica Ace, The Modern Masters Collection (Ace CDCHD 337). Paul also recommends the work he did on Tribute to Little Walter (Chicago Masters Vol. 3, Capitol 36286). Charlie recommends his chromatic work on Blowin’ The Blues (El Segundo 1001). • Little Walter – The innovator of amplified harmonica, the “King of the Blues Harmonica.” Early recordings have him playing acoustic with Muddy Waters, with his own material, both acoustic and amplified, coming soon after. The amplified work really sets him apart. His May 12, 1952 recording “Juke” placed him on the music charts and changed the blues harmonica sound forever. Along with vocal tunes, he recorded many instrumental tunes (“Juke,” “Off the Wall,” “Roller Coaster,” “Boogie,” “Rocker,” etc.) that stand to this day as some of the best amplified blues harmonica instrumental playing ever. His phrasing especially is a focus of study for students wanting to play instrumentals. Album: The Essential Little Walter (Chess/MCA CHD2-9342 - 2 CD set) & Confessin’ The Blues (Chess MCD 09366). Both recommended albums are unfortunately out of print, but His Best (MCA 9384) is readily available. Charlie also says he has a lot of the now out of print Blues With A Feelin’ (MCA 9357). Some great sideman work, besides that with Muddy Waters, is with John Brim and Jimmy Rogers (Chess). • Sonny Boy Williamson II (Rice Miller) – Not to be confused with the original John Lee “Sonny Boy” Williamson, Rice Miller was also a harmonica powerhouse. Miller primarily sang and played acoustic harp, rarely recording amplified. Along with Little Walter, many of Sonny Boy II’s songs live on as blues standards and have hugely influenced players of today. Album: The Essential Sonny Boy Williamson (Chess/MCA CHD2-9343 - 2 CD set – out of print), Real Folk Blues/More Folk Blues (MCA 28232) and King Biscuit Time (Arhoolie 310). His other Trumpet recordings are nice as well as his work backing Baby Boy Warren on Excello. 2 More Classic Players – All of these players can be considered fathers of blues harmonica as well, though they came a little after the above artists. • James Cotton – Known as “Mr. Super Harp,” a killer player with a performance career spanning over 50 years as a bandleader and backing other players such as Muddy Waters and Otis Span. His best- known harmonica tune is “Creeper,” which is still a showstopper and performed regularly. Album: Best of the Verve Years (Verve D108381) is out of print, but Feelin’ Good (Acrobat 4009) is of the same period. Rick recommends checking out Chicago, the Blues Today!. • Louis Myers – Harmonica player commonly overlooked due to backing Little Walter in the Aces band on guitar. Myers plays surprisingly fine harmonica. Album: Harp & Soul (Fuel 2000) and other collections mentioned in the compilation section. • Jimmy Reed – Known for his frequent use of the 1st Position high end. His phrasing is sparse and very melodic. A great study for his 1st Position and 2nd Position work. Album: The Very Best of Jimmy Reed (Rhino R2 79802) • Junior Wells – Another heavy-hitter of blues harmonica. Wells came into his own in the mid 60’s where his funky harmonica style really jumps out. “Messin’ with the Kid” (Chicago The Blues Today, Vol. 1, Vanguard #9213, 1966) contains a phenomenal harmonica solo. Album: Junior Wells Hoodoo Man Blues (Delmark DD-612). It’s My Life Baby on Vanguard is recorded live and is a masterpiece of blues performance. His earlier work can be heard on Blues Hit Big Town on Delmark. Notable side work can be heard backing Muddy Waters, Floyd Jones, T-Bone Walker and J B Lenoir. • Howlin’ Wolf – Though basic in approach, his presentation was bold with a strong vibrato. Album: His Best (Chess Anniversary Collection) More Classic Players – Players you might not have heard of, but should take a listen to and study. • Slim Harpo – Very musical player (good phrasing) who recorded for many years. Best-known song is “Baby Scratch My Back.” Album: The Best Of (Excello) • Lazy Lester – Very tasty playing with a Cajun twist.