a Discography of [Bootleg Albums] of JAMES COTTON "SUPERHARP"
1950's Solo/Own Band Compilations w/Other Bands Bootlegs	1960's Solo/Own Band Compilations w/Other Bands Bootlegs	1970's Solo/Own Band Compilations w/Other Bands Bootlegs	1980's Solo/Own Band Compilations w/Other Bands Bootlegs	1990's Solo/Own Band Compilations w/Other Bands Bootlegs	2000's Solo/Own Band Compilations w/Other Bands Bootlegs
BOOTLEGS
The James Cotton Blues Band Fillmore West, San Francisco 1966 Recording Date: November 25, 1966 Venue: Fillmore West, San Francisco, CA 1. Instrumental - 7:01 2. Can't Stand To See You Go - 4:04 3. Woke Up This Morning - B.B. King - 4:05 4. Don't Start Me Talkin' - Sonny Boy Williamson II - 4:37 5. Good Time Charlie - 5:05 6. I'm Going Out Walking - 4:23 7. Off The Wall - 4:02 8. Big Boss Man - 3:35 9. Sweet Sixteen - B.B. King - 5:43 James Cotton (vo) Luther Tucker (g) Alberto Gianquinto (p) Bobby Allison (b) Sam Lay (ds) Concert Summary (Wolfgang's Vault) The dynamic blues master James Cotton's story reads like a Hollywood bio, written with deliberate embellishments in order to give it the happy ending everyone wants. Orphaned at age nine and sent to live with a family friend (who happened to be blues legend Sonny Boy Williamson), Cotton was hosting a blues radio show by his early teens, and eagerly honing his skills on the harmonica with a number of Southern Delta bluesmen. In 1954, he replaced Junior Wells in the Muddy Waters Blues Band, where he remained for almost a dozen years. Eventually he got the legendary blues master to feature his extraordinary harmonica skills. In the early 1960s, Waters recorded "Got My Mojo Working," after Cotton had insisted he cut it. It became his signature song and a huge blues hit. By 1966, Cotton was ready to go solo. He left Waters to form the James Cotton Blues Band, with the initial lineup featured here. Sam Lay was a seasoned blues drummer who was able to give the band its real cohesive fusion, and guitarist Luther Tucker lays down a number of exceptional blues guitar solos. This recording was made in November of 1966, around the time Cotton was touring with Big Brother and the Holding Company with Janis Joplin. Joplin was determined to see Cotton get the recognition he deserved, and she helped bring him to the attention of Bill Graham, who ended up booking Cotton at both Fillmores. Graham often placed him on eclectic triple bills with acts such as the Yardbirds, Country Joe and the Fish and the Grateful Dead, and he was quickly embraced by rock audiences. At the time, blues bands headed by harp players were very popular, and Cotton often crossed paths with Junior Wells and Paul Butterfield. This recording was made at the Fillmore West during a three night stand that also included Moby Grape and the Jefferson Airplane on the bill, with Cotton sandwiched in the middle. On this recording, you can expect to hear a mix of Cotton originals and blues classics and standards such as his old Waters classics "Got My Mojo Workin'" and "Woke Up This Morning." This smoking blues set closes with "Sweet Sixteen."
The James Cotton Blues Band Live at the Texas International Pop Festival 1969 Recording Date: August, 20, 1969 Venue: International Motor Speedway, Texas Release Date: Unknown Label: Oh Boy (German Bootleg 1-1969 TEX 8) 1. Comin' Home Baby (Instrumental) - Herbie Mann - 6:48 2. (Instrumental) - 8:49 3. Off The Wall (Instrumental) / Look On Yonder Wall - Little Walter / Elmore James - 5:55 4. Knock On Wood - Eddie Floyd - 3:00 5. Nine Below Zero - Sonny Boy Williamson II - 3:58 6. Dust My Broom - Elmore James - 5:15 7. The Creeper (Instrumental) - JamesCotton - 11:02 8. Turn On Your Lovelight - Bobby Bland - 12:57 9. Please, Please, Please - James Brown - 3:56 JAMES COTTON: vocals, harmonica LUTHER TUCKER: guitar BILL NUGENT: tenor sax BOB ANDERSON: bass BARRY SMITH: drums (recorded live in Dallas, Tx, August 30-31, 1969 with Luther Tucker:gtr, Bob Anderson:bs, Francis Clay:dms+ unknown tenor saxophonist)
James Cotton Band / Janis Joplin Kansas '69 Recording Date: October 24, 1969 Venue: Cotillion Ballroom, Wichita, Kansas 1)    Warmup jam 2)    Heart attack 3)    Who’s loving you tonight 4)    Sweet sixteen James Cotton – vocals, harmonica Luther Tucker – guitar Bill Nugent – tenor sax Bob Anderson – bass Barry Smith – drums 5)    Raice you hand 6)    As good as you’ve been 7)    Take me in every way blues 8)    Summertime 9)    Kozmic blues 10)  Piece of my heart 11)  Work me lord Janis Joplin – vocals Snooky Flowers – baritone sax, vocals Sam Andrew – guitar Brad Campbell – bass Richard Kermode – keyboards Lonnie Castille – drums LIVE COTILLION BALLROOM, WICHITA, KANSAS, OCTOBER 24, 1969
Various Artists Blues - Chicago Style Date: 196x Label: Python Records (PLP KM 17) (UK) Format: 12 inch 33 rpm LP possibly unauthorized compilation of the Loma recordings Loma 2042 - James Cotton - May 1966 Complete this order / Laying in the weeds Along with recording by Magic Sam, Junior Wells, Billy Boy Arnold, Hound Dog Taylor, Mighty Joe Young, G.L. Crockett, Sugarpie Desanto, Tommy Tucker Python Recordswas an obscure label specialising in issuing (possibly 'unofficialy') American blues material. Python was founded and run by Keith Tillman and Tomy Martin. It was based in Carshalton, a 'white collar' commuter suburb of London far removed from the Blues of Chicago.
Quicksilver Messenger Service with James Cotton The Old Mill, Mill Valley, Marin County 1970 Date: 1970 (April, 1970) Label: bootleg Venue: The Old Mill Side Two is three jams with James Cotton sitting in on harmonica
James Cotton & Chicago Slim with Mike Bloomfield & Band Long Beach 1971 (& Seattle 1970) Date: 1971 (April 8, 1971) Label: bootleg Venue: Long Beach Auditorium Running Time: 38 min. CD released: 2006 ? by someone calling himself Censler 01. There is Something on Your Mind 02. The Creeper (harp instrumental Medley incl. Drinkin' Wine) 03. Turn On Your Love Light 04. Please, Please (James Brown cover) 05. Lucille (rock n roll medley incl. Johnny B Goode, instrumental / crowd / band intro) 06. Drinkin' Wine - Encore from Eagles Auditorium, Seattle 2/27/70 The balance of the recording is from the Long Beach concert with the encore track from an earlier Seattle concert. It appears to have been recorded by a Harry Kraslow. While the concert was actually billed as "Mike Bloonfield and Band with Chicago Slim," the bootleg album lists James Cotton, only a sideman, as the lead artist, an example of the strength of the James Cotton legend.
James Cotton Band SMU (North Dartmouth, MA) Date: 1973 (February 25, 1973) Label: Dawson Sound Venue: SMU Running Time:1:16:04 1. Watermelon Man 8:52 2. It's Too Late 11:12 3. Every Day I Have The Blues 3:05 4. Sweet Home Chicago 2:43 5. Hoochie Coochie Man 4:32 6. Rocket 88 / Last Night 7:39 7. Cotton Boogie 2:22 8. Sweet Sixteen 7:27 9. Good Time Charlie 3:23 10. Instrumental 10:33 11. The Creeper 8:29 James Cotton - vocals, harmonica Matt "Guitar" Murphy - guitar George T. Gregory - saxophone Charles Calmese - bass Kenny Johnson - drums Concert Notes: (Wolfgang's Vault) James Cotton had some mighty big shoes to fill when he replaced Muddy Water's harmonica player, Little Walter, in 1954. Having learned how to wail from none other than Sonny Boy Williamson himself, Cotton was well prepared, and over the next 12 years, he played an integral role in Muddy Water's music as well as the Chicago blues scene in general. By 1966, he was prepared to make it on his own and formed the James Cotton Blues Band, releasing his debut album for Verve the following year. Along with the Paul Butterfield Blues Band, Cotton's band soon became favorites among the burgeoning blues/rock scene in San Francisco, through memorable performances at the Fillmore Auditorium and rock venues across America. In the 1970s, he formed the James Cotton Band, featuring the outstanding guitarist, Matt "Guitar" Murphy. This band became legendary, playing to packed houses around the world. Cotton's roaring vocals and the masterful instrumental abilities of this band dazzled everyone who listened and the group's relentless high energy, more often than not, had audiences up on their feet, dancing, screaming and sweating right along from the minute Cotton took to the stage. This early 1973 performance at SMU, when the James Cotton Band opened for Mahavishnu Orchestra, is a prime example of the early 1970s lineup. Playing before an audience well accustomed to instrumental virtuosity, this performance is an undeniable testament to the instrumental prowess of these five musicians, who deliver an absolutely incendiary performance. The recording begins with the core band warming up on two extended jam numbers, prior to Cotton himself hitting the stage. The first, "Watermelon Man," begins in progress. This jazz-inflected exercise is essentially a massive guitar solo for Matt Murphy, who immediately displays blazing dexterity on guitar. Next up is an extended instrumental improvisation on Carole King's "It's Too Late," that is absolutely gorgeous in both its melodic execution and musicianship. Before Cotton even appears, these two performances reveal a phenomenally talented band, overflowing with originality and creativity. When Cotton hits the stage, everything kicks up a notch as they first blaze through a fiery take on "Everyday I Have The Blues." The "Sweet Home Chicago" and "Hoochie Coochie Man" that follow are a nod to Cotton's bluesy Chicago roots. His high energy cover of "Jackie Brenston & the Delta Cats' classic, "Rocket 88," and the slow blues of Little Walter's "Last Night" are sharp and tight. The first full-fledged harmonica blowout comes next on a sizzling take on "Cotton's Boogie," before they venture back with a double dose of material from Cotton's debut album. Both B.B. King's "Sweet Sixteen" and the "Good Time Charlie" that follows will be welcomed by fans of Cotton's 1960s era and this band takes this material to another level that is arguably even better than his classic original 1967 recordings. They bring the set to a close with another extended instrumental workout that allows each member of the band to solo over a thoroughly impressive 10 minutes. Throughout this set, Cotton is the ultimate showman, literally sucking the reeds out of his harmonicas with his prodigious lungpower. Murphy's guitar playing has never sounded more inspired and he and Gregory's soulful sax are delightful throughout. The rhythm section of Calmese and Johnson are never less than astonishing here, proving them to be equally adept at blues, jazz, rock or virtually anything in between. To call them propulsive is a major understatement, as they vacillate between tight grooves and explosive improvisational flights. Needless to say, the audience demands an encore and Cotton delivers. When they return to the stage, they pull out all the stops with a blazing jam on "The Creeper," with Cotton blowing his harmonica so hard, it's a wonder that the keys didn't decompose in his hands. One listen to this and fans of J. Geil's band classic harp blowout, "Whammer Jammer," will know exactly where Magic Dick got his frenetic ideas from. They conclude the performance with the audience fully engaged and participating in a sing-along to "Goodbye My Lady," a Todd Rungren/Moogy Klingman composition that features an infectious melody that refuses to let go of the listener. Few bands could give the Mahavishnu Orchestra a challenge in the instrumental virtuosity department, but the James Cotton Band raise the bar to an astonishing level here. This performance is absolutely blazing with energy. Fans of James Cotton will be thoroughly captivated by this set and those who are only familiar with Matt Murphy's refined guitar work with The Blues Brothers will be devastated by his incendiary guitar playing here.
James Cotton Blues Band Winterland (San Francisco, CA) Recording Date: 06.15.1973 Venue: Tower Theater, Upper Darby, Pennsylvania Tracks: 5 Total Time: 21:22 Catalog: Bill Graham James Cotton - vocals, harmonica Matt "Guitar" Murphy - guitar George T. Gregory - tenor saxophone Charles Calmese - bass Kenny Johnson - drums Concert Summary: (Wolfgang's Vault) James Cotton had some mighty big shoes to fill when he replaced Muddy Water's harmonica player, Little Walter, in 1954. Having learned how to wail from none other than Sonny Boy Williamson himself, Cotton was well prepared and over the next 12 years, he played an integral role in Muddy Water's music as well as the Chicago blues scene in general. By 1966, he was prepared to make it on his own and formed the James Cotton Blues Band, releasing his debut album for Verve the following year. Along with the Paul Butterfield Blues Band, Cotton's band soon became favorites among the burgeoning blues/rock scene in San Francisco, through memorable performances at the Fillmore and rock venues across America. In the 1970s, he formed the James Cotton Band, featuring the outstanding guitarist, Matt "Guitar" Murphy. This band became legendary, playing to packed houses around the world. Cotton's blazing harmonica and the masterful instrumental abilities of this band dazzled everyone who listened and the group's relentless high energy, more often than not, had audiences up on their feet, dancing, screaming and sweating right along from the minute Cotton took to the stage. On a Winterland bill that also featured Roy Buchanan and the Elvin Bishop Group, this James Cotton Band recording captures the group's triumphant return to San Francisco for the first time in nearly three years. To warm up their chops, they open with a high energy take on Little Walter's "Crazy Mixed Up World," which the audience enthusiastically applauds. One can hear Matt Murphy itching to crank it up a notch right before they launch into "Rocket 88," a song of praise for the Oldsmobile, originally recorded by Ike Turner's Kings of Rhythm and often cited as being a prototype rock 'n' roll song. The slow burning blues of "Born In Missouri" follows with a passionate intensity. After introducing the band members, Cotton pays tribute to his mentor, Sonny Boy Williamson, while dipping way back into his own repertoire for "Don't Start Me Talkin'." The recording concludes with "Georgia Swing," written by Jelly Roll Morton, a seminal figure in the development of jazz in the early decades of the last century. This swinging jazz-inflected exercise features a blazing guitar solo from Matt Murphy, who displays impressive dexterity. The rhythm section of Calmese and Johnson are never less than propulsive, proving them to be equally adept at blues, jazz, rock, or virtually anything in between. Although the tape suffers from deterioration, this performance is a testament to the instrumental prowess of these five musicians.
Johnny Winter, Muddy Waters, Pinetop Perkins, James Cotton Live at the Tower Theater, Upper Darby, PA Recording Date: March , 1977 Venue: Tower Theater, Upper Darby, Pennsylvania Release Date: Unknown Label:
James Cotton Red Hot 'N' Blues Release Date: 1982 Label: ACCORD SN 7223 (bootleg) Type: LP Caldonia / Fannie Mae / I Don't Know / Keep Cooking Mama / Rocket 88 / Chicken Heads / Hot N Cold / Mojo / Boogie Thing (incl. 5 demo tracks plus 4 live tracks)
James Cotton Blues Band Dealing with the Devil Release Date: 1984 Label: INTERMEDIA QS-5006 (bootleg) Type: LP Off The Wall / Don't Start Me To Talking / Dealing With The Devil / The Creeper / You Know It Ain't Right / Feelin' Good / Knock On Wood / Sweet Sixteen / I Need You So Bad / 'Fore Day Blues (recorded in New York, March 24, 1967, feat. James Cotton:vcl/hca, Paul Serrano:tp, Louis Satterfield:tb, John Watson:tb, James Barge:ten.sax, McKinley Easton:bar.sax, Delbert Hill:bar.sax, Alberto Gianquinto:pno, Luther Tucker:gtr, Bob Anderson:bs, Sam Lay:dms) -- reissue: Quicksilver CD 5006, 2004 --
James Cotton Blues Band Two Sides of the Blues Release Date: 1984 Label: INTERMEDIA QS-5011 (bootleg) Originally Recorded: 1967 Re-Release Date: 2006 (28-08-2006) Label: Tracks: Title Composer Time 1 Good Time Charlie (Caple, Robey, Scott) 2 There's Something on Your Mind (McNeely) 3 Turn on Your Love Life (Robey, Scott) 4 Jelly Jelly (Cotton) 05. South Side Boogie 06. So Glad I’m Living 07. Diggin’ My Potatoes 08. V-8 Ford Blues 09. Polly Put The Kettle On In the 1960s, Cotton formed a big blues band in the tradition of Bobby “Blue” Bland. Four tracks that are extremely upbeat and feature the big band horn sound and five stripped down traditional songs recorded are captured on the album Two Sides of the Blue. -- reissue: Pilz Entertainment/Golden Legends Series CD ?, 1993 --
Rumors of Other Bootlegs James Cotton Blues Band 1966/06/25 Fillmore West James Cotton Band 1973/02/25 SMU North Dartmouth, MA James Cotton Blues Band 1973/06/15 Winterland, SF No Known Bootlegs from the 1990s through today
GO TO SOLO AND BAND RECORDINGS
GO TO COMPILATIONS
GO TO RECORDINGS WITH OTHERS incl. Muddy Waters
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