Little Walter (Born Marion Walter Jacobs)
May 1, 1930 – February 15, 1968
Little Walter was an influential blues harmonica player whose revolutionary style of play often had later fans calling him the “Jimi Hendrix of the harmonica.” Little Walter launched his career while still a young teen, busking throughout the southern states. It was during those early years that he learned the ropes from the likes of Sonny Boy Williamson II and Honeyboy Edwards. He moved to Chicago in 1945 and began releasing records within two years. Little Walter began playing with Muddy Waters, both in his band and later on record, during the late ’40s. Throughout the ’50s, Little Walter released several records on his own with songs like “Juke” and “Roller Coaster” landing on the R&B charts. As a session player, he can be heard on records by the likes of Memphis Minnie, Bo Diddley and Otis Rush. Notorious for his abuse of alcohol and a hot temper, Littler Walter died in his sleep following a fight outside of a Chicago club. Though never made official, it is believed that the blows from that encounter inflamed internal injuries sustained from an earlier fight, resulting in a blood clot in the heart. He was 37 years old.
What You Should Own
Although I know that by asking this question I am opening my self to criticism–I have so much as been called “wrong headed” by one Mark Skoller, Chicago for simply inferring that Little Walter was arguably one of the better blues harmonicists –can anyone tell me why Little Walter is deemed inarguably a musical “genius”? Is this an overstatement, or a matter of consensus of opinion shared by many in the Blues?
Unlike his Blues contemporaries Big Walter Horton or George “Harmonica” Smith, or for that matter, Sonny Boy Williamson II, did he have an inarguably superior tone? Is it the body of work for which he is credited that earned him that designation as “inarguably a musical genius”?
In as much as I am familiar with his work, did he ever record what was then considered a “pop” song, much as Big Walter recorded “La Cucharacha,” or “Don’t Get Around Much Anymore,” or “Summertime,” or “I Left My Heart In San Francisco”?
If compared to other harmonicists of the era, such as Larry Adler, Toots Thielemans, or the Harmonicats, how does he compare?
I am not putting this out here looking for an argument, I would prefer an informed, intelligent discussion on the matter.
Dave King
Cross Harp Chronicles
You could say that it was his tone, however there is considerably more to it. Bhareth Rajakumar from canada, (and one of the best Walter coverers) said “Where did he get all those licks. Inovation was clear in his playing. As far as pop tunes, listen to the era of “Dead Presidents” and “I’m a Business Man”