James Henry Cotton (July 1, 1935 – March 16, 2017) was an American blues ha… Read Full Bio ↴James Henry Cotton (July 1, 1935 – March 16, 2017) was an American blues harmonica player, singer and songwriter, who has performed and recorded with many of the great blues artists of his time and with his own band. He played drums early in his career but is famous for his harmonica playing. Cotton began his professional career playing the blues harp in Howlin' Wolf's band in the early 1950s. He made his first recordings in Memphis for Sun Records, under the direction of Sam Phillips. In 1955, he was recruited by Muddy Waters to come to Chicago and join his band. Cotton became Waters's bandleader and stayed with the group until 1965. In 1965 he formed the Jimmy Cotton Blues Quartet, with Otis Spann on piano, to record between gigs with Waters's band. He eventually left Waters to form his own full-time touring group. His first full album, on Verve Records, was produced by guitarist Mike Bloomfield and vocalist and songwriter Nick Gravenites, who later were members of the band Electric Flag. In the 1970s, Cotton played harmonica on Waters's Grammy Award–winning 1977 album Hard Again, produced by Johnny Winter.

“The blues is all about feeling,” says Grammy Award-winning harmonica legend James “Mr. Superharp” Cotton. “If I don’t feel it, I can’t play it.” Now in his 69th year as a professional musician (starting at age nine), James Cotton not only feels it, he lives it. His overwhelmingly powerful harmonica is one of the iconic sounds of the blues. His skills are unrivaled, his story the stuff of legend.

Born on a cotton plantation in Tunica, Mississippi on July 1, 1935, Cotton learned harmonica directly from Sonny Boy Williamson II (Rice Miller) as a small child. He toured with Williamson and Howlin’ Wolf, recorded for Sun Records, and spent 12 years with Muddy Waters before stepping out on his own. Leading his own band, he earned his reputation as one of the most commanding live blues performers in the world—a man who could literally suck the reeds out of his harmonica from the pure force of his playing—one high-energy performance at a time.

His new Alligator album, Cotton Mouth Man, is a joyous celebration of his life in the blues. Recorded in Nashville and produced by Grammy-winning producer/songwriter/drummer Tom Hambridge (Buddy Guy, Joe Louis Walker, Susan Tedeschi), the album is a riveting, good-time musical journey through sounds and scenes from Cotton’s long and storied career. With seven songs co-written by Cotton (more originals than he’s ever included on one release) and Hambridge (who co-wrote five additional tracks), the stories the album tells are Cotton’s own, inspired by his colorful and sometimes perilous life. Throughout the CD Cotton’s blast-furnace harmonica sound and larger-than-life personality are front and center.

Helping Cotton tell his stories and showcase his music are guests Gregg Allman, Joe Bonamassa, Ruthie Foster, Warren Haynes, Delbert McClinton and Keb Mo. Forming the core of the backing band on the CD are Hambridge (drums), Rob McNelley (guitar), Chuck Leavell (keyboards) and Glenn Worf (bass). Tommy MacDonald and Colin Linden each add guitar to one track. Darrell Nulisch, who has been singing in Cotton’s band for many years, expertly handles the vocals on five tracks, while the other members of Cotton’s road band—Tom Holland, Noel Neal and Jerry Porter—are also on board on some of the songs. Cotton, who, after a bout with throat cancer turned the vocal duties over to others, was inspired by the sessions to return to the microphone. He brings the album to a warm-hearted close singing his own Bonnie Blue (the name of the plantation where he was born), helping to make Cotton Mouth Man the most personal, celebratory and just plain fun recording of his seven-decade career. According to Cotton, “I feel so happy about the music in this album. My hope is that everyone who listens feels it. I know I sure did!”

Cotton first recorded under his own name for the Chicago/The Blues/Today! series on Vanguard, and, along with Otis Spann, cut The Blues Never Die! for Prestige before forming the first James Cotton Blues Band. He made his first solo albums—three for Verve and one for Vanguard—in the late 1960s. With bands featuring outstanding musicians including famed guitarist Luther Tucker, he quickly rose to the top of the blues and rock worlds. With his gale-force sound and fearless boogie band (later featuring Matt “Guitar” Murphy), it wasn’t long before he was adopted by the burgeoning hippie audience as one of their own. Cotton shared stages with Janis Joplin, The Grateful Dead, Led Zeppelin, B.B. King, Santana, Steve Miller, Freddie King and many others.

Cotton’s blistering talent and full-throttle energy kept him in demand at concert halls all over the country. He played the Fillmore East in New York, the Fillmore West in San Francisco and every major rock and blues venue in between. During the 1970s, he cut three albums for Buddah and one for Capitol. He rejoined his old boss Muddy Waters for a series of Muddy albums produced by Johnny Winter, starting with Hard Again in 1977. Cotton also guested on recordings by Koko Taylor and many others. He was joined on his own albums by stars like Todd Rundgren, Steve Miller, Johnny Winter, Dr. John, David Sanborn, Charlie Haden, Michael Bloomfield and Cissy Houston.

Cotton signed with Alligator Records in 1984, releasing High Compression and Live From Chicago, Mr. Superharp Himself! (which earned him the first of his four Grammy nominations). In 1990 he joined fellow Chicago harp masters for the all-star release Harp Attack!. In 1991 the Smithsonian Institution added one of his harmonicas to their permanent collection. Cotton won a Grammy Award in 1996 for his Verve album, Deep In The Blues, and was inducted into the Blues Hall Of Fame in 2006. During the 2000s Cotton has continued recording and touring relentlessly, playing clubs, concert halls and festivals all over the world, electrifying audiences wherever he performs. Cotton’s 2009 return-to-Alligator release, Giant, was Grammy-nominated. USA Today said, “Since 1966 James Cotton has been carrying the Chicago sound to the world. On Giant, he pours 75 years of living into that harmonica and out comes devastating and powerful blasts of notes.”

In June 2010, Cotton was honored at New York’s Lincoln Center, where his friends Hubert Sumlin, Pinetop Perkins, Taj Mahal, Shemekia Copeland and others paid tribute to him in an all-star concert. In 2013 he toured as part of the all-star “Blues At The Crossroads II,” a tribute to Muddy Waters and Howlin’ Wolf, and he continues to perform nationally and internationally with his own high-octane James Cotton Blues Band. Nobody has more fun playing the blues, and the telepathic communication between Cotton and his band (whom he refers to as “my family”) creates inspiring, soulful music that leaves his audience on their feet, grinning and cheering for more. Cotton has recently been signed by the prestigious Rosebud Agency and will be travelling the world in support of the new album.

Cotton Mouth Man proves James Cotton’s high-compression blues harmonica playing is still a true force of nature, while his songs and stories are a living history of the blues. As The San Francisco Examiner says, “James Cotton is an inimitable blues legend. His wailing harmonica blows them away. His improvisations on the blues are full of fun and good humor. The blues don’t get much better.”

Down At Your Buryin'
James Cotton Lyrics

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UB40
Rat in The Kitchen
Looking Down At My Reflection
Looking down at my reflection
In the puddle at my feet
Things don't seem so real down there
Or maybe I don't see

I see no starvation
I don't see any pain
I see myself not helping
Just a loner in the rain

Looking down at my reflection
In the puddle in the ground
Things are getting clearer now
I can see a thunder cloud

I see gross injustice
I see evil men
I see myself repeating
The same old words again

Looking down at my reflection
In the puddle lying there
Now I decide to change my mind
And show the world I care

I care about my fellow man
Being taken for a ride

I care that things start changing
But there's no one on my side

Overall Meaning

The lyrics to "Down At Your Buryin'" by James Cotton is a classic blues song about the inevitability of death and the lack of control we have over it. The song is a metaphorical representation of a funeral, where the singer is imagining themselves at their own funeral, looking down at their own body, lying in a casket.

The first verse sets the tone for the song, with the singer looking down at their reflection in a puddle at their feet. They describe how things don't seem real down there, but perhaps it's their perspective that is flawed. In the second verse, the singer sees no pain or starvation, but instead sees themselves, alone in the rain, not helping anyone.

The third verse is where the tone of the song shifts, with the singer seeing gross injustice and evil men. They see themselves repeating the same things over and over again, without making any real change. In the fourth and final verse, the singer decides to change their perspective and start caring about their fellow man, despite the fact that there's no one on their side.

The song's message is powerful, urging listeners to think about their own mortality and to make the most of the time they have. It's a reminder that we can't control everything, but we can control our own actions and the impact we have on others.

Line by Line Meaning

Looking down at my reflection
Observing my own image in the water below

In the puddle at my feet
In the small pool of water beneath me

Things don't seem so real down there
The reflection appears different, almost unreal

Or maybe I don't see
Perhaps I am not looking properly

I see no starvation
I observe no signs of hunger or malnutrition

I don't see any pain
There is no visible indication of suffering

I see myself not helping
I realise that I am not contributing towards any solution

Just a loner in the rain
I am alone and without support, in a difficult situation

In the puddle in the ground
Looking at the reflection in the earth itself

Things are getting clearer now
The situation is becoming more understandable

I can see a thunder cloud
I recognise the presence of a looming disaster