Chris Barber presents Jimmy Cotton,7"EPColumbia SEG8141

	£		57
	$		76

Chris Barber presents Jimmy Cotton, EP

Tracklist;

Dealing with the Devil (Williams), Standing around crying (Muddy Waters), Slow and Easy (Cotton), Rock Me Mama (Broonzy)

 

ORIGINAL COPY. FIRST UK PRESSING. Released 1962. Mono. Columbia Records, catalogue number; SEG 8141, matrix stampers; 7TCA 1827/8-1-U, `OT' Tax stamper mark, `ET & C' stamper marks.

 

Extremely rare early 60s blues EP. This is volume one and features US harmonica and vocal legend Jimmy Cotton backed up by Chris Barber and Alexis Korner on guitar, as well as Keith Scott on piano and CB on bass and trombone. Recorded in August 1961, just after Cotton left Muddy Waters' band.

This record is deleted and not available new on vinyl or CD.

No other copy is for sale worldwide.

The last copy of volume two of this collaboration sold on eBay for £58.

99p start. Get bidding.

 

Overall Sleeve Condition :  GOOD

Laminate front flipback sleeve. The laminate is still glossy but there is a small 2 cm tear to the opening on the front and rear cover and light rubs and ringwear on both sides

Vinyl Condition, Visual:  EXCELLENT

Looks unmarked and undamaged, very slight signs of play.

Vinyl Condition, Audible: EXCELLENT.

Plays very well with no major decrease in sound quality. No problems or faults, very light static crackle in a few isolated places. Very slight decrease in sound quality from the original condition.

Label Condition :    MINT.

Silver on green Columbia label. Centre intact.

 

This item is offered with a money back guarantee, please see below.

 

AMG Biography by Bill Dahl

At his high-energy 1970s peak as a bandleader, James Cotton was a bouncing, sweaty, whirling dervish of a bluesman, roaring his vocals and all but sucking the reeds right out of his defenseless little harmonicas with his prodigious lungpower. Due to throat problems, Cotton's vocals are no longer what they used to be, but he remains a masterful instrumentalist.

Cotton had some gargantuan shoes to fill when he stepped into Little Walter's slot as Muddy Waters's harp ace in 1954, but for the next dozen years, the young Mississippian filled the integral role beside Chicago's blues king with power and precision. Of course, Cotton prepared for such a career move for a long time, having learned how to wail on harp from none other than Sonny Boy Williamson himself.

Cotton was only a child when he first heard Williamson's fabled radio broadcasts for King Biscuit Time over KFFA out of Helena, AR. So sure was Cotton of his future that he ended up moving into Williamson's home at age nine, soaking up the intricacies of blues harpdom from one of its reigning masters. Six years later, Cotton was ready to unleash a sound of his own.

Gigging with area notables Joe Willie Wilkins and Willie Nix, Cotton built a sterling reputation around West Memphis, following in his mentor's footsteps by landing his own radio show in 1952 over KWEM. Sam Phillips, whose Sun label was still a fledgling operation, invited Cotton to record for him, and two singles commenced: "Straighten Up Baby" in 1953 and "Cotton Crop Blues" the next year. Legend has it Cotton played drums instead of harp on the first platter.

When Waters rolled through Memphis minus his latest harpist (Junior Wells), Cotton hired on with the legend and came to Chicago. Unfortunately for the youngster, Chess Records insisted on using Little Walter on the great majority of Waters's waxings until 1958, when Cotton blew behind Waters on "She's Nineteen Years Old" and "Close to You." At Cotton's instigation, Waters had added an Ann Cole tune called "Got My Mojo Working" to his repertoire. Walter played on Muddy Waters's first studio crack at it, but that's Cotton wailing on the definitive 1960 reading (cut live at the Newport Jazz Festival).

By 1966, Cotton was primed to make it on his own. Waxings for Vanguard, Prestige, and Loma preceded his official full-length album debut for Verve Records in 1967. His own unit then included fleet-fingered guitarist Luther Tucker and hard-hitting drummer Sam Lay. Throwing a touch of soul into his eponymous debut set, Cotton ventured into the burgeoning blues-rock field as he remained with Verve through the end of the decade.

In 1974, Cotton signed with Buddah and released 100% Cotton, one of his most relentless LPs, with Matt "Guitar" Murphy sizzlingly backing him up. A decade later, Alligator issued another standout Cotton LP, High Compression, that was split evenly between traditional-style Chicago blues and funkier, horn-driven material. Harp Attack!, a 1990 summit meeting on Alligator, paired Cotton with three exalted peers: Wells, Carey Bell, and comparative newcomer Billy Branch. Antone's Records was responsible for a pair of gems: a live 1988 set reuniting the harpist with Murphy and Tucker and a stellar 1991 studio project, Mighty Long Time.

Cotton still commands a huge following, even though serious throat problems (he sometimes sounds as though he's been gargling Drano) have tragically robbed him of his once-ferocious roar. That malady ruined parts of his Grammy-nominated album for Verve, Living the Blues; only when he stuck to playing harp was the customary Cotton energy still evident.

 

Our accurate condition gradings are based on those used in the UK 2008 Record Collector Rare Record Price Guide. Please see below for a complete explanation.



 

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Please read the description and terms of sale carefully and contact me with any questions or further information you may need before you place a bid. Email me- ratrecords@btconnect.com or call me on UK landline 01852 500332, (from Europe, dial 0044 1852 500332, from the United States, dial 01144 1852 500332, from Japan, dial 01044 1852 500332) or UK mobile 07795 424575.

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Please see our other 7" singles currently offered.

Thank you for looking. I wish you very good luck bidding. Regards, Tom Fisher.

 

 

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  UK Record Collector Grading System:

  MINT: The record itself is in brand new condition with no surface marks or deterioration in the sound quality. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition.

  EXCELLENT (US version of this term: Near Mint): The record shows some signs of having been played, but there is very little lessening in the sound quality. The cover and packaging might have slight wear and/or creasing.

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