Little Walter

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Little Walter, born Marion Walter Jacobs (May 1, 1930 –

February 15, 1968), was an American blues musician and

singer, whose revolutionary approach to the harmonica earned

him comparisons to Charlie Parker and Jimi Hendrix,[2] for

innovation and impact on succeeding generations. His virtuosity

and musical innovations fundamentally altered many listeners'

expectations of what was possible on blues harmonica.[3] Little

Walter was inducted to the The Rock and Roll Hall of Fame in

2008 in the "sideman" category making him the only artist

inducted specifically as a harmonica player.


Early years


Jacobs was born in 1930 in Marksville, Louisiana and raised in

Rapides Parish, Louisiana, (although recently uncovered census

data suggests he may have been born earlier, possibly as early

as 1925) where he first learned to play the harmonica. After

quitting school by the age of 12, Jacobs left rural Louisiana and

travelled around working odd jobs and busking on the streets of New Orleans, Memphis, Helena, Arkansas and St. Louis. He honed his musical skills

on harmonica and guitar performing with much older bluesmen such asSonny Boy Williamson II, Sunnyland Slim, Honeyboy Edwards and others.


Arriving in Chicago in 1945, he occasionally found work as a guitarist but garnered more attention for his already highly developed harmonica work.

According to fellow Chicago bluesman Floyd Jones, Little Walter's first recording was an unreleased demo recorded soon after he arrived in Chicago

on which Walter played guitar backing Jones Jacobs reportedly grew frustrated with having his harmonica drowned out by electric guitarists, and

adopted a simple, but previously little-used method: He cupped a small microphone in his hands along with his harmonica, and plugged the

microphone into a public address system or guitar amplifier. He could thus compete with any guitarist's volume. However, unlike other

contemporary blues harp players such as Sonny Boy Williamson I and Snooky Pryor, who like many other harmonica players had also begun using

the newly available amplifier technology around the same time solely for added volume, Little Walter purposely pushed his amplifiers beyond their

intended technical limitations, using the amplification to explore and develop radical new timbres and sonic effects previously unheard from a

harmonica, or any other instrument. Madison Deniro wrote a small biographical piece on Little Walter stating that "He was the first musician of any

kind to purposely use electronic distortion.




Jacobs made his first released recordings in 1947 for Bernard Abrams' tiny Ora-Nelle label, which operated out of the back room of Abrams'

Maxwell Radio and Records store in the heart of the Maxwell Street in Chicago. These and several other early Little Walter recordings, like many

blues harp recordings of the era, owed a strong stylistic debt to pioneering blues harmonica player Sonny Boy Williamson I (John Lee Williamson).

Little Walter joined Muddy Waters' band in 1948, and by 1950, he was playing acoustic (unamplified) harmonica on Muddy's recordings for Chess

Records. The first appearance on record of Little Walter's amplified harmonica was on Muddy's "Country Boy" (Chess 1952), recorded on July 11,

1951. For years after his departure from Muddy's band in 1952, Chess continued to hire Little Walter to play on Waters' recording sessions, and as a

result his harmonica is featured on most of Muddy's classic recordings from the 1950s.[9] As a guitarist, Little Walter recorded three songs for the

small Parkway label with Muddy Waters and Baby Face Leroy Foster (reissued on CD as "The Blues World of Little Walter" from Delmark Records in

1993), as well as on a session for Chess backing pianist Eddie Ware; his guitar work was also featured occasionally on early Chess sessions with

Muddy Waters andJimmy Rogers.


Jacobs had put his career as a bandleader on hold when he joined Muddy's band, but stepped back out front once and for all when he recorded as a

bandleader for Chess's subsidiary label Checker Records on May 12, 1952. The first completed take of the first song attempted at his debut session

became his first hit, spending eight weeks in the number-one position on the Billboard R&B chart. The song was "Juke", and is still the only

harmonica instrumental ever to be a number-one hit on the Billboard R&B chart. (Three other harmonica instrumentals by Little Walter also reached

the Billboard R&B top 10: "Off the Wall" reached number eight, "Roller Coaster" achieved number six, and "Sad Hours" reached the number-two

position while Juke was still on the charts.) "Juke" was the biggest hit to date for Chess and its affiliated labels, and one of the biggest national R&B

hits of 1952, securing Walter's position on the Chess artist roster for the next decade.


Little Walter scored fourteen top-ten hits on the Billboard R&B charts between 1952 and 1958, including two number-one hits (the second being "My

Babe"[1] in 1955), a level of commercial success never achieved by his former boss Waters, nor by his fellow Chess blues artists Howlin' Wolf and

Sonny Boy Williamson II. Following the pattern of "Juke", most of Little Walter's single releases in the 1950s featured a vocal performance on one

side, and a harmonica instrumental on the other. Many of Walter's vocal numbers were originals that he or Chess A&R man Willie Dixon wrote or

adapted and updated from earlier blues themes. In general, his sound was more modern and uptempo than the popular Chicago blues of the day,

with a jazzier conception and less rhythmically rigid approach than other contemporary blues harmonica players.


Upon his departure from Muddy Waters' band in 1952, he recruited a young band that was already working steadily in Chicago backing Junior Wells,

The Aces, as his new backing band. The Aces consisted of brothers David and Louis Myers on guitars, and drummer Fred Below, and were re-

christened "The Jukes" on most of the Little Walter records on which they appeared. By 1955 the members of The Aces/Jukes had each left Little

Walter to pursue other opportunities, initially replaced by guitarists Robert "Junior" Lockwood and Luther Tucker, and drummer Odie Payne. Others

who worked in Little Walter's recording and touring bands in the '50s included guitaristsJimmie Lee Robinson and Freddie Robinson. Little Walter

also occasionally included saxophone players in his touring bands during this period, among them a young Albert Ayler, and even Ray Charles on

one early tour. By the late 1950s, Little Walter no longer employed a regular full-time band, instead hiring various players as needed from the

large pool of local blues musicians in Chicago.


Jacobs was frequently utilized on records as a harmonica accompanist behind others in the Chess stable of artists, including Jimmy Rogers, John

Brim, Rocky Fuller, Memphis Minnie, The Coronets, Johnny Shines, Floyd Jones,Bo Diddley, and Shel Silverstein, and on other record labels backing

Otis Rush, Johnny Young, and Robert Nighthawk


Jacobs suffered from alcoholism and had a notoriously short temper, which in late 1950s led to a series of violent altercations, minor scrapes with

the law, and increasingly irresponsible behavior. This led to a decline in his fame and fortunes beginning in the late 1950s, although he did tour

Europe twice, in 1964 and 1967. (The long-circulated story that he toured the United Kingdom with The Rolling Stones in 1964 has since been

refuted by Keith Richards). The 1967 European tour, as part of the American Folk Blues Festival, resulted in the only film/video footage of Little

Walter performing that is known to exist. Footage of Little Walter backing Hound Dog Taylor andKoko Taylor on a television program in

Copenhagen, Denmark on October 11, 1967 was released on DVD in 2004. Further video of another recently discovered TV appearance in Germany

during this same tour, showing Little Walter performing his songs "My Babe", "Mean Old World", and others were released on DVD in Europe in

January 2009, and is the only known footage of Little Walter singing. Other TV appearances in the UK (in 1964) and the Netherlands (in 1967) have

been documented, but no footage of these has been uncovered. Jacobs recorded and toured only infrequently in the 1960s, playing mainly in and

around Chicago.


In 1967 Chess released a studio album featuring Little Walter with Bo Diddley and Muddy Waters titled Super Blues.




A few months after returning from his second European tour, he was involved in a fight while taking a break from a performance at a nightclub on

the South Side of Chicago. The relatively minor injuries sustained in this altercation aggravated and compounded damage he had suffered in

previous violent encounters, and he died in his sleep at the apartment of a girlfriend at 209 E. 54th St. in Chicago early the following morning. The

official cause of death indicated on his death certificate was "coronary thrombosis" (a blood clot in the heart); evidence of external injuries was so

insignificant that police reported that his death was of "unknown or natural causes",[10]and there were no external injuries noted on the death

certificate.[2] His body was buried at St. Mary's Cemetery in Evergreen Park, IL on February 22, 1968.[10] His grave remained unmarked until

1991, when fans Scott Dirks and Eomot Rasun had a marker designed and installed.




Music journalist Bill Dahl described Little Walter as "king of all post-war blues harpists", who "took the humble mouth organ in dazzling amplified

directions that were unimaginable prior to his ascendancy."[3] His legacy has been enormous: he is widely credited by blues historians as the artist

primarily responsible for establishing the standard vocabulary for modern blues and blues rock harmonica players.[2][3] His influence can be heard

in varying degrees in virtually every modern blues harp player who came along in his wake, from blues greats such as Junior Wells, James Cotton,

George "Harmonica" Smith, Carey Bell, and Big Walter Horton, through modern-day masters Sugar Blue, Billy Branch, Kim Wilson, Rod Piazza,

William Clarke, and Charlie Musselwhite, in addition to blues-rock crossover artists such as Paul Butterfield and John Popper of the band Blues

Traveler.[2] Little Walter was portrayed in the 2008 film, Cadillac Records, by Columbus Short.


Little Walter's daughter, Marion Diaz Reacco, has established the Little Walter Foundation in Chicago, to preserve the legacy and genius of Little

Walter. The foundation aims to create programs for the creative arts, including music, animation and video. Stephen King's novel Under the Dome

(2009) features a character named Little Walter Bushey, based on Little Walter.






The Forum post is edited by bninna Aug 12 '15




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